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ONE MAN’S VISION

(A play in two acts)

George Bavinton

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ONE MAN’S VISION

“That Joern Utzon was viciously slandered and subjected to press trial by

rumour and inspired ‘leak’ now seems deplorably clear. At the time of his

resignation the press was practically unanimous in presenting Utzon as the

man solely responsible for intolerable delays and absurdly increasing costs at

the Sydney Opera House.

Whatever Utzon’s actual part in the troubles of the Sydney Opera

House, the publicity attending his departure was a humiliating

affront to justice.”

Philip Parsons

The Ruin of Utzon’s Audacious Vision

Meanjin Quarterly

September 1967.

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ONE MAN’S VISION

CAST OF CHARACTERS

P.R. Ryan Member for Marrickville – NSW Legislative Assembly

Tom Rogers * Member NSW Legislative Assembly

Speaker* Speaker NSW Legislative Assembly

Davis Hughes Member for Armidale NSW Legislative Assembly

Members # Members NSW Legislative Assembly

Jorn Utzon Architect, Sydney Opera House

Lis Utzon Wife of Jorn Utzon

Bill Wheatland Architect, Assistant to Jorn Utzon

Bruce Scott Reporter, Sydney Morning Herald

Mick Lewis* Engineer, Ove Arup and Partners

W.W. Wood Liaison Architect, Department of Public Works

Spruiker No. 1 * At protest rally

Spruiker No. 2 + + ; Crowd + + At protest rally

* These roles may be played by the one actor.

# All available actors can provide interjections during debates, off stage.

+ + All available characters can provide rally and crowd scene.

PLAY SEQUENCE

ACT I

Scene 1 May 1964 Parliamentary Office, Minister Ryan - Lunch

Scene 2 Same day NSW. Legislative Assembly Afternoon

Scene 3 Next day Palm Beach home Early Morning

Scene 4 Same day Office of Jorn Utzon, Bennelong Point, Sydney

Scene 5 Same day Palm Beach home Evening

ACT II

Scene 1 June 1965 Parliamentary Office Minister Hughes - Lunch

Scene 2 July 1965 Office of Jorn Utzon, Bennelong Point, Sydney

Scene 3 December 1965 Office of Davis Hughes, Minister for Public Works

Scene 4 February 1966 Office of Davis Hughes, Minister for Public Works.

Scene 5 Same day Palm Beach home Late Evening

Scene 6 March 1966 Rally, March Lunch Hour

Scene 7 December 1966 NSW Legislative Assembly Afternoon

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ONE MAN’S VISION

CHARACTERS

JORN UTZON Architect Born in 1918 and grew up in Denmark Speaks in thickly accented English in staccato bursts of words. His English syntax tends to be quaint in both speaking and writing. His manners are very Danish, most formal on formal occasions. In his office insists that all of his staff call him Jorn. Height 6 feet 9 ½ inches (205 cm.).- non smoker Utzon was 38 when he won the Opera House competition from 222 others. Studied at Royal Academy of Art in Copenhagen. In 1948 influenced by Fernand Leger and Le Corbusier in Paris and sculptor Henri Laurens. From Laurens he learnt how one builds forms in the air. Morocco interested him with the unity of village and landscape.

“Perfection is essential to his concept of architecture and that takes time – perhaps unconscionable time in the case of a highly complex building as large as a city block. As for diplomacy, it is alien to Utzon’s all - or- nothing – temperament. Though capable of great charm he is disinclined to suffer fools, impatient of socialising, shy of publicity. His total lack of interest for self- promotion was never more obvious than at the time of the resignation crisis when he made no attempt to woo the press, even rebuffed a highly influential newspaper editor, and gave the Minister for Public Works a field-day. The wonder is not that Utzon’s position was made impossible in 1966 but that he lasted so long.”

Philip Parsons Meanjin Quarterly

September 1967. “And as an architect I think Utzon is a genius – I almost think he is the best I ever worked with – if such

a comparison were possible. And he is of course completely dedicated to this job – one can almost say he gives his life to it. But geniuses are of course difficult to work with. Utzon is a very charming and genial genius, but uncompromising and very demanding when the quality of the job as he sees it is at stake. He can cause havoc amongst Engineers who have worked for months on something which is now being improved – but one has to admit it is being improved.” Ove Arrup

Address to Prestressed Concrete Development Group London 14.1.1995

LIS UTZON Wife of Jorn Utzon. Born in Denmark. Mother of his three children.

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ONE MAN’S VISION CHARACTERS (Continued)

BILL WHEATLAND Architect, Assistant to Jorn Utzon Middle aged Dresses in jeans and double-pocketed work shirt. Wears RM Williams boots on site and in office. Wears yellow hard hat on site. P.N. RYAN Minister for Public Works Labour Member for Marrickville NSW Legislative Assembly Middle aged With defeat of Labor Government becomes Shadow Minister for Public Works. DAVIS ( Bill ) HUGHES - Shadow Minister of Public Works who replaced P.N. Ryan with the change of Government. A fifty six year old former school master whose deep set blue eyes and wedge of grey hair give him some slight semblance to a Mephistopheles in a business suit. Previously mayor of Armidale. Tasmanian born went prewar to take up position as schoolmaster at The Armidale School, and later became the representative of a firm of wool dealers. Elected to parliament as Country Party member for the electorate of Armidale. MICHAEL (MICK) R. LEWIS* Structural Engineer – Sydney representative of Ove Arup and Partners (pronounced approximately Ooveh Ahrup with a Parisian ‘r’). Born in South Africa. – Educated at Witwatersrand University with B.Sc. in engineering Has been Arup’s partner in Australia since 1963, when he arrived to open an office on the Opera House site. Very time and cost minded. W.W. WOOD Public Works Department Architect Sent to take post on Bennelong Point ‘liasion architect’, i.e. to discover what Utzon was doing.

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ONE MAN’S VISION

CHARACTERS (Continued)

BRUCE SCOTT Sydney Morning Herald senior reporter, parliamentary roundsman. Very experienced reporter. Dressed in suit and vest and quite at home interviewing ministers and Police Commissioner etc. Middle aged. TOM ROGERS* Labor party member of NSW Legislative Assembly Party hack, middle aged. Confidant of Minister for Public Works P. N. Ryan. SPEAKER* Speaker of NSW Legislative Assembly Dresses in gown and wig. Sits in speaker’s chair of office on raised platform. Middle aged SPRUIKER No. 1* At protest rally SPRUIKER No.2 (Very minor role) At protest rally * NB. These three roles may be played by the one actor.

. . . .

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ONE MAN’S VISION

Act I Scene 1 May 1964 – Lunch Hour Office of Minister for Public Works NSW Legislative Assembly - Sydney Minister P.N. (Norman) Ryan, Member for Marrickville, paces the floor of his office, sandwich and beer in hand, and shares a quick scratch lunch with a fellow Labor Party member. Suit coats on back of chairs. Ties undone. They discuss parliamentary tactics following the release of new estimates for the Sydney Opera House construction. A torrid period is anticipated from the opposition Liberal Country Party during the afternoon parliamentary session. Office desk is strewn with sandwiches, serviettes, and oyster bottles, beer glasses and jug of beer. RYAN (paces floor) Waves report in hand. That Danish bastard. He’s gone too far. ROGERS Sits at desk, eating and drinking. We’ll fix him. RYAN These bloody estimates. ROGERS Seven to thirty-six million in five years. RYAN He’ll have to go. ROGERS What about his contract? RYAN Talking to Crown Law. ROGERS He comes here and puts us in the shit. Old Joe started it. Then he up and left us.

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RYAN Places file on table Grabs a sandwich, Continues pacing. And what’ve we got? ROGERS

A bloody crocodile on Bennelong Point. RYAN And stored stage machinery. ROGERS And completion in three years. . . RYAN 1967. It’s a disaster. ROGERS Christ knows where it will end. RYAN We just pay the bills. ROGERS

A football stadium would’ve been better. RYAN Shit yair. ROGERS An Australian architect wouldn’t’ve made this cock up. RYAN Not in Sydney. ROGERS Not in Sydney. RYAN Not in Sydney. ROGERS Does he know what he’s doing, and that? RYAN The judges thought so. The best of two hundred.

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ROGERS Doesn’t mean a bloody thing. RYAN

Circles desk and continues eating. Utzon (Ootzon) blames the early start. ROGERS Bloody years ago. He should be over it. RYAN That’s not what he says. ROGERS The bloody election’s gone. RYAN No way. No bloody way. We are not going to lose office over this bastard. No bloody way. He put us there and he’ll pay for it. ROGERS Some of his own architects don’t want him. And that other bloke in the States says he’s no bloody good. RYAN I reckon we can fix him. Just give me a little time. We’ll work something out. ROGERS You better be quick. RYAN The press is with us. I can swing it. I can swing it. ROGERS And. And. He’s got a lot of friends. RYAN Not real friends. Not real friends Tom. They all want something. Extra bloody acoustics or something. Who cares? ROGERS The public want blood. These costs. Where does he get them from?

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RYAN Steps close and confronts Rogers

Jesus Tom. I’m not a friggin’ architect. Maybe I should’ve been. They get it easy. All bow ties, and crumpled suits. ROGERS What was his last job? RYAN

Continues pacing. Some flash pensioner units. ROGERS How come he was appointed? RYAN Don’t know. Don’t know. They reckon a judge found it in a bin. ROGERS Shit and we got saddled with it. RYAN That’s only hearsay. Don’t quote me. ROGERS No. No. Of course not. You know me Norm. RYAN What if you move a vote of confidence after lunch? ROGERS On Utzon? On Utzon? RYAN Who else? You know how it works. It’s all perception, perception, perception. ROGERS You’re the tactician. RYAN It’s the next election. You wouldn’t enjoy opposition.

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ROGERS Shit no. You’re right. Yair got ya. RYAN

Pours beer, spears oyster, continues pacing

I’ll give the speaker the word. Wait for my sign. ROGERS The gallery will be packed. Afternoon press. RYAN And their bloody deadlines. We can’t stop that. ROGERS You’re the minister. Get that bloke of yours to rattle off something. A world class building, culture and the usual sort of bullshit. RYAN Bloody hell. It’ll take more than that. ROGERS Hughes’ll be up us like a rat up a drainpipe. RYAN It’s right up his alley. ROGERS The Country Party is bleating. He’s in trouble in Armidale. Another bloody drought. It suits him to play the poor bugger me card. RYAN He’ll move for a Royal Commission again. ROGERS Let him. Just let him. RYAN It’s not on. It’s not on.

ROGERS

Got to get our story out.

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RYAN Acts the orator

Pull the heart strings. Remind Sydney of old Joe’s legacy. Our place in the cultural world. Facing the challenges and opportunities before us. ROGERS

Sounds like the right mix of bullshit. . . You have another out. RYAN

Stands still and faces Rogers Like what? ROGERS The judges decision. . . It wasn’t us. RYAN

Waves arms and continues pacing.

That’s not an out. The opposition would kill us. ROGERS What’ve we got on Hughes? RYAN He’s desperate for funding. . The drought. ROGERS There you go. What’s his price? RYAN Too much. ROGERS He’s got us on toast. RYAN Shit no. ROGERS What then?

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RYAN Bloody hell. ROGERS Put him on that new committee. He’d like that. RYAN He could buy it. It’d help the school fees. ROGERS (laughs) You can’t beat that cash. RYAN You’re right. ROGERS What if he doesn’t? RYAN Utzon faces the music. ROGERS Tell him to pull his head in. RYAN He’s for the high jump. ROGERS Who wants an opera house, anyhow? RYAN

Struggles into suit coat, straightens tie. Picks up file.

It’s too late for that. . . Givvus a beer and don’t hog the oysters.

LIGHTS BLACKOUT

End Act I scene 1

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Act I scene 2 Act I scene 2 Same day - Legislative Assembly, Sydney, N.S.W. - Afternoon Minister for Public Works Mr. P. N. Ryan, Member for Marrickville faces Shadow Minister for Public Works, Mr. Davis Hughes, Member for Armidale The Speaker (gown and wig), in his Chair of Office, controls the debate and asides from unseen Members of Parliament – off stage OR tape LIGHTS Separate spotlights over Minister Ryan, Shadow Minister

Hughes and Speaker. RYAN Stands, opposite Hughes. Mister Speaker if I may? SPEAKER Minister Ryan for Public Works. RYAN

Mister Speaker we’ve all been subjected to a vicious diatribe from the honourable member for Armidale, this afternoon. No one associated with the opera house has escaped this viciousness, and to top it all the very good name of the late honourable J.J. Cahill has been slandered. MEMBERS (Off stage OR tape) Hear, hear. How could he? RYAN Let me remind the house of the huge contribution made by the late Premier to our fair state and particularly to the opera house. It was only through his vision, with others, that a worldwide competition was called and the architect Mister Jorn Utzon (Yawn Ootzon) was commissioned to build the opera house at Bennelong Point. There were 233 submissions considered by the panel of judges and if I may Mister Speaker quote from the report of the four judges.

Picks up report and reads

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RYAN (Continued) ‘We are convinced the drawings submitted by Mister Utzon the Danish architect, present a concept of an opera house, which is capable of being one of the great buildings of the world. Because of its very originality it is clearly a controversial design but we feel that the general breadth of the imaginative concept is an overriding consideration.’ End of quote Mister Speaker.

Places report on table.

One of the greatest buildings in the world. Yet the honourable member for Armidale has the hide to cast aspersions at the judges and architect. MEMBERS (off stage) Shame, Shame. RYAN These things have to be said. I say again we are building a world class building and people will come from across the seas to view and wonder at it. I believe Australians are worthy of the challenge and will not be found wanting. MEMBERS (off stage OR tape) Onya. Hear, hear. RYAN This opera house will certainly enhance our place in the cultural world and we have to thank Mister Utzon for his brilliant concepts. We are indeed privileged he chose Sydney to bring us his skills and vision.

Thank you Mister Speaker.

Sits on chair in spotlight HUGHES Stands and addresses the Speaker

Mister Speaker. I have one or two matters I would like to bring to the house's attention.

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SPEAKER Shadow Minister for Public Works Mr. Hughes. HUGHES The member for Marrickville has painted a grand picture of whatever is happening at Bennelong Point. He has regaled us with a vision splendid of great buildings and challenges. This is all very fine but we cannot escape from the fact that it comes at a tremendous cost. A cost that can only be paid by the citizens of this State. You will all recall the premier of the day gave us the original estimate of $7 million. Today we hear the ever increasing cost is $36 million and the dogs are barking it doesn’t include a carpark. LONE MEMBER (off stage or tape) The dogs shouldn’t be treated like that. Shame. Shame. MEMBERS (laughter, laughter) (off stage or tape) Ring the RSPCA (laughter, laughter) HUGHES These ever increasing costs are of great concern. The opera house lotteries have failed to deliver any worthwhile funding and will not keep pace with the voracious appetite for money this project has had since day one. The honourable member for Marrickville has said very little about these matters but we all know the architect Mister Jorn Utzon was ordered to commence construction well before structural engineers knew it was possible to construct the roof. Costs were not known and the finishing date was not even guessed at. MEMBERS (off stage OR tape) Shame, shame. It’s a bloody shambles. Who’s paying for this?

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HUGHES My constituents are asking why all this money is being squandered in Sydney. We in the bush are forgotten. How can I explain to them that all of this is for them and the good of the State? In the bush they’re doing it tough. Facing one of the worst droughts in years. They’re carting water and buying feed. They’ll never see inside the opera house but they’ll be paying for it. That’s the disgrace Mister Speaker. A royal commission into this schemozzle is the only honourable way we can get to the bottom of this whole affair and provide answers for my constituents and the long suffering citizens of New South Wales.

Sits on chair in spotlight MEMBERS

(off stage OR tape) Hear, hear A royal commission Bring on the election. We want answers. SPEAKER

Taps gavel It’s time for adjournment. We will resume at the scheduled hour.

LIGHTS BLACKOUT

End Act l scene 2

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Act I scene 3 Act I scene 3 Next Day – Early Morning Palm Beach, Sydney - home of Jorn Utzon, breakfast / kitchen area. Jorn Utzon, seated at the breakfast table, with suit coat on back of chair, brief case beside him reads the morning paper. His wife Lis in dressing gown enters. UTZON (disturbed) Crumples newspaper LIS (concerned) ENTERS What is it Jorn (Yorn)? UTZON They can’t get it right. LIS Again? UTZON Lis, Lis. It is not as they say. LIS (firmly) Sits at table You must ring the editor and minister Ryan. UTZON

What is the point? LIS They don’t care. UTZON They don’t understand. This whole business is . . LIS The people are being turned against you. The letters to the editor are growing. UTZON I don’t read them. They are written by cranks.

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LIS And no effort is being made by the government to explain the construction problems. UTZON It’s not the only government project. New South Wales is twenty times the size of Denmark. LIS That is no excuse. They don’t want to help. Some of the Sydney architects are against you. It was going to be so exciting with the children and . . UTZON And it hasn’t been? LIS It’s what it’s doing to you. You don’t say. You don’t have to. Has it been worth it? I shouldn’t have said that. . . Of course it has. I just wish you had support from those who welcomed you. UTZON The worst is over. LIS The worst may be yet to come. You’ve never had a project like this. Alterations, strikes. . . Now the papers are talking of a new government. UTZON So be it. It’s only paper talk. . The contract is with the State. No matter the government. LIS That’s not what the papers are saying. Some suggest the whole project was a mistake.

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UTZON It’s the people’s opera house. The people are waiting. They deserve it. LIS Do they? Do they? This is not Denmark. Let’s finish and go. UTZON Go? Go? What of our plans? LIS Plans change. UTZON The children are so happy. You said you wanted to stay. LIS I have this feeling. We are not welcome any more. UTZON Surely not. LIS Look at the papers. The headlines. The news. You can’t escape it. UTZON That’s not everyone. LIS No. But it’s growing. We don’t have to stay. UTZON Lis, Lis. It will pass. Once those shells are completed. Wait and see. I see them. The sea, the sky, linked from every direction.

Reaches out hand to Lis Look at the water out there.

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LIS (smiles)

It’s beautiful. . . beautiful. We were so lucky to find this house.

UTZON We were. LIS Let’s go sailing this weekend. The children will be home. Ask Wheatland to come up. UTZON (smiles) Remember when we first heard? LIS The children were so excited. Lin said you had to buy her a horse. UTZON We were a very happy family.

LIS (smiles) What’s on today? UTZON

I’ll see the minister again for the prototype funding. . . See Lewis. The press is coming. They want more background. I’m looking forward to it. LIS We’ll see. UTZON Afraid of the headline? LIS Not afraid. Perhaps cynical. UTZON

Stands and puts on coat Picks up briefcase. I must go. The traffic shouldn’t be heavy.

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Moves to Lis and kisses her. LIS You haven’t had your fruit. UTZON Taps the briefcase. I’ve taken the oranges. LIS (smiles) Tonight? UTZON I’ll be late. Don’t wait. LIS Kisses Utzon. UTZON EXITS LIGHTS BLACKOUT

End Act I scene 3

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Act I scene 4 Act I scene 4 Same day (later) May 1964 Sydney NSW morning Office of Architect Jorn Utzon, Bennelong Point. Army style, white painted wooden hut with one wall of concrete block which separates it from Structural Engineers Ove Arup’s twin hut. Office is furnished with tables, phones, drawing boards, filing cabinet, plan cabinets, fridge, water cooler, one wall has large photograph of Mayan temple and sketches of a series of overlapping spheres. Jorn Utzon stands, eating a quarter of an orange, not peeled, gazing at the photograph of the Mayan temple. UTZON Touches photograph and turns WHEATLAND In jeans and work shirt, RM Williams boots ENTERS Morning Jorn (Yawn), sorry I’m late. The ferry. UTZON (nods, smiles) Bill. . . Again. WHEATLAND Sits at his desk.

I’ll check the podium later. What’s with you? UTZON

The press, then the engineers and the works department.

WHEATLAND We took a pizzling in parliament yesterday. UTZON Pizzling? WHEATLAND A roasting. Costs again. Made the front page.

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UTZON

(nods) Saw the papers. WHEATLAND Why O why is it always us? No hint of government demands. Shit no. Not a bloody word. Just too mucha da money. The bastards shouldn’t’ve started it. UTZON It’s too late for that. WHEATLAND Crissake Jorn. We’re being got at. They’ve got their job and pension. Where do I go after this one? No one will have me. They don’t care. UTZON The people support us. WHEATLAND The average bloke sees it as a hole in the ground. Ryan controls the info. UTZON Strange. It’s there for everyone to see. WHEATLAND There’s an election coming up. The government is shit scared. UTZON They have an unique opportunity to have one of the world’s finest buildings. WHEATLAND It was political from day one. UTZON

Moves to fridge. Returns orange skin to lunch box and takes another quarter of orange out. Commences eating.

These parliamentarians are the least of our problems. In time they will love it.

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WHEATLAND Maybe a football stadium would’ve been more acceptable. UTZON You know your own country best. Denmark would love my building. WHEATLAND The strong horizontal lines really set it off. UTZON The Aztecs and the Mayas knew a thing or two. WHEATLAND The theorists still struggle with the shells. UTZON They can’t perceive the architectural environment with the landscape. WHEATLAND What’s the progress with the mockups? UTZON The minister still doesn’t want Ralph Symonds. WHEATLAND Still? UTZON We can’t give the experimental results to Symond’s competitors. My methods save costs. WHEATLAND We’ve got parliament, the public service and half the country against us. You’re just ahead of your time. UTZON The competition was worldwide. I am a guest in your country. Australians are a generous people. I don’t understand.

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WHEATLAND We don’t have an opera tradition. The costs frighten the shitter out of everyone. UTZON Lis was saying something like that at breakfast. Now you. I’ll talk it through with her again. My friend, come with us this weekend. We will sail together and talk. WHEATLAND Love to. We’ll have more time. SCOTT

ENTER Knock at doorway

Bruce Scott, Sydney Morning Herald Mr.Utzon. . .

I’m a little early. UTZON (Shakes hand of Scott) Come in. Have we met? SCOTT A year back. When you first arrived. UTZON (smiles) Please forgive me. I’ve met so many.

Meet Mister Associate Architect William Wheatland.

WHEATLAND (stands) Shakes hands with SCOTT I’m on my way. Please excuse me. Puts on hardhat from desk Have to check with Hornibrooks. EXITS.

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UTZON (sits at desk)

Please sit down Mister Scott. Thank you for your interest. SCOTT (sits in front of Utzon) Thank you for seeing me Mister Utzon. You’d be busy. UTZON (smiles) Call me Jorn. SCOTT Bruce. Bruce. UTZON I understand you have some questions. SCOTT First a little background. How are you settling in? UTZON We found a lovely house at Palm Beach. SCOTT Nice spot. . The family? UTZON The children love the swimming and sailing. My daughter might go on to East Sydney Technical College. SCOTT That’s good. Your wife likes the change? UTZON Yes. She was so happy when she knew we were coming. We were quite unprepared for our welcome and the media attention. We are a normal family. SCOTT You might all stay?

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UTZON Yes. Lis has the papers. We haven’t completed them. SCOTT (nods) A big decision. Getting back to yesterday. Parliament was in uproar. The government’s under pressure. UTZON I’ve read your paper. SCOTT It’s in election mode. People look at the opera house and query the costs and delays. UTZON I have written many letters to the minister on these matters. I never gave the original estimates. SCOTT Why not? Isn’t this part of the normal process? You just can’t start something like this without knowing what it’s going to cost. UTZON The documentation was very general. I don’t know who concocted the original estimate. Perhaps you have the answer in your office. It’s probably there somewhere with the announcement and the publicity. I wasn’t asked. SCOTT Let’s start with the facts .The size of this project. In layman’s terms. UTZON Perhaps in what you would call in Sydney - football terms? SCOTT (Smiles, nods) Yes. UTZON The major hall’s roof system is one and a third football fields long.

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SCOTT Height? UTZON The tallest roof shell is as high as a twenty-story building. SCOTT Against the bridge it would be where? UTZON Twenty-nine feet higher than the harbour bridge roadway. SCOTT Length wise? UTZON Two football fields. SCOTT A whole block in Pitt street. UTZON Think of a Gothic church. You never finish looking at a Gothic church. SCOTT Nice concept. But what about these cost overruns? UTZON Much has been written about the ordered commencement date. SCOTT A political decision? UTZON The basic engineering and architectural problems had not been solved. SCOTT And you’ve been suffering ever since? UTZON Your words.

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SCOTT Are they true? UTZON Perhaps your conclusions are correct. SCOTT Are there other reasons? UTZON The competition documents did not mention the reclaimed landfill. SCOTT Foundation problems? UTZON No one had bothered to find out if it was a solid piece of land. To find footings we extended into the harbour. SCOTT Extra cost? UTZON Over two million in stage one. SCOTT This is not generally known. UTZON It’s in the detail of the actual expenditure. SCOTT Hidden? UTZON Not at all. These details are forwarded to the government in routine reports. SCOTT Why is it that we haven’t heard of this additional expenditure before this? UTZON As I have said my routine reports contain this detail. Perhaps you should ask the minister for comment.

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SCOTT I will. For the first six years you were in Denmark, Ove Arup (Ooveh Ahroop)was testing in London and the work was in Sydney. Did these arrangements greatly influence cost increases? UTZON Only an Australian would query that. The opera house belongs to the world. SCOTT But it is being said. UTZON Let them say it. SCOTT But the public want to know. UTZON I’d rather not go into detail. . . Some of the ribs are in place. Wait till you see the shells against the sky and sea. WHEATLAND

ENTERS UTZON Back so soon? Excuse me Mister Scott SCOTT (nods)

WHEATLAND Met Mick. Need to check those podium plans again. The tiles. LEWIS

ENTERS Morning Jorn. UTZON Morning Mick. Problems? LEWIS Just checking.

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LIGHTS fade over Utzon WHEATLAND Moves to plan cabinets. Removes plans. Unrolls plans on his desk. LEWIS Told you we were right. The plans are arse up. WHEATLAND No way. You’ve got that section mirror reversed. LEWIS I’ll have that foreman. WHEATLAND That’s up to you. They’ll have to be changed. LEWIS (grunts) WHEATLAND While you’re here. Look at this lot. Moves to plan cabinet and returns to desk and unrolls plans.

LEWIS WHEATLAND

Continue looking at plans LIGHTS fade over Wheatland. LIGHTS brighten over Utzon

SCOTT The public has great curiosity about this whole project. Why can’t you provide these details? UTZON There are certain confidences that would not be correct for me to make public. I’m sure as a journalist you have your own code of ethics and understand.

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SCOTT (nods) I hear you solved the engineering problems with the sails. UTZON Our thoughts on the shell construction changed over time. SCOTT Why was that? UTZON Our structural engineers tested models for nearly a year and a half at the Southampton University. The shells at the time were double . . . about four feet apart. SCOTT Harbour winds would be a problem. UTZON Bending forces. We planned to fabricate in situ with huge formwork. SCOTT Hell. Twenty stories of formwork.

UTZON Demonstrates with hands and arms Every curved surface was unique. Each piece

of formwork needed individual construction. SCOTT Costs? UTZON Costs for the experimental research would

have been enormous. SCOTT Understandable. UTZON Alternatives took time. . . The solution was to make all the shells from

a sphere with a common radius.

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SCOTT You’ve lost me. How do I explain this? UTZON

(smiles) Your football readers? Have a look at this. Moves to fridge and takes whole orange from lunch box. SCOTT Joins Utzon at fridge. UTZON

We simply took a sphere and sliced pieces from it. Each piece is the same distance from its centre. The geometry took about eighteen months with computers. SCOTT So the proposed shell construction changed completely? UTZON

Move to wall sketches of overlapping spheres.

Indeed. The shells could then be made from prefabricated parts and erected rapidly. SCOTT These ribs. How do they work? UTZON Mother nature teaches us a thing or two. Have you looked at palm fronds or even the structure of an orange? SCOTT Not closely. UTZON

Reaches into fridge lunch box Holds up orange skin quarter.

See how the orange skin is built on a framework of ribs?

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SCOTT Yes. . . Never noticed before. UTZON Here’s a trick to show your children.

Cuts orange skin segment in half and stands segments on cut end. Look familiar? SCOTT It does. . . Takes some explaining. UTZON (laughs) You can write what you like. . .

Just remember sometimes an orange is just an orange.

LIGHTS Brighter over Wheatland and Lewis. WHEATLAND There should be no problem with the boxes.

On to the barges at Symonds. Sling them ashore and Bob’s your uncle. LEWIS Except for the great gashes along the plywood. WHEATLAND It’s as simple as shitting in bed and kicking it out with your feet. LEWIS I can’t take the risk. UTZON (interrupts) Mick. Yachtsmen do it everyday. LEWIS I’ll take a look. UTZON It’s vital they are also airtight and thus sound tight.

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LEWIS Got the picture. UTZON There continues to be misunderstandings between your London office and ourselves. LEWIS I’m not aware of it. UTZON This scheme for steel framed trusses was investigated in 1962. The harbour noise would be conducted into the auditoria.

WHEATLAND We are on a major shipping lane and we could end up with a farewell blast from the QE II in the middle of Swan Lake. LEWIS (laughs) One dying swan is enough then? Does London know of your past investigation?

WHEATLAND They should. UTZON Also I want those ceiling boxes fabricated on the ground where they can be inspected. LEWIS Okay. Okay. UTZON Thanks.

Moving back to Scott Sorry Bruce. As you were saying.

SCOTT The political situation. The government could change. UTZON I work for the people. They don’t change.

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SCOTT But the reality is not all the people want the opera house. UTZON Who could not want it? SCOTT (shrugs) Your current work. Design or construction? UTZON Stage three. The interior. SCOTT What will be the dominant colours? UTZON My favourites. Chinese red and gold for the major hall. Chinese blue and silver for the smaller one. SCOTT I’ve got to get back to file this. Just a couple of last questions. Other architects have said the opera house is a dishonest building. The shells are not determined by structural considerations. It’s camouflage. UTZON Are we prepared to go beyond the functional and tangible? SCOTT Frank Lloyd Wright and others object to the lack of functional relationship between the ceilings and the roof vaults. UTZON I respect the work of Mister Wright. However, we have a different frame of reference. It’s the autonomous right of expression over and above the purely utilitarian. In two hundred years people will still come and enjoy it. SCOTT But your methods are unorthodox.

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UTZON Past practice provides only approximate workable solutions to the unique needs of the present. SCOTT Conventional solutions aren’t on? UTZON Today’s problems should be approached in the context of today’s materials and skills. SCOTT Some of your critics say the delays in construction are caused by lack of staff. UTZON Prefabrication expedites production. SCOTT The orange again? UTZON (angered) And the shells, and the seating, and the mullions. Do you want me to keep repeating myself? SCOTT Basic geometry? UTZON Only one key working drawing. SCOTT (cynically) Just one. UTZON Why do you doubt me? SCOTT No, no. Just hadn’t realized. UTZON Why do you question my integrity? SCOTT It’s hard to shake the past concepts of pillars and porticoes.

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SCOTT (continued) Other architects aren’t convinced. It’s hard for the bloke in the street. UTZON It’s time to forget the past. Bennelong Point is God’s gift. Remember that. SCOTT I’m meeting the photographer at the podium. Thank you Mister Utzon for your time. And thanks for the orange trick. UTZON (smiles) Mister Scott thank you for coming. I look forward to your article. SCOTT

EXITS UTZON Moves to Mayan temple photograph Gazes and touches photograph.

WHEATLAND Finished with the reporter? UTZON Yes. Tomorrow’s Herald. WHEATLAND Hope it’s balanced. Moves to fridge and commences drinking a coke Hands coke to Lewis. LEWIS Thanks. UTZON Why shouldn’t it be? WHEATLAND No reason. Expect something and get something else.

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UTZON People try to help. Sometimes circumstances prevent them. WHEATLAND You have a strong faith in human nature. UTZON In the end it comes back to people. WHEATLAND

Moves to desk. sits

Hornibrook’s working well. The ribs are moving quickly. LEWIS They’re a good crew. UTZON

Sits at drawing board stool Moves tee square etc. Good. Good. Mick

Now that the reporter has gone it is not appreciated when I ask your firm to investigate matters, that you furnish alternate schemes I haven’t asked for. LEWIS Consideration of alternatives sometimes leads to better decisions. UTZON I don’t want alternatives. When I want them I’ll ask. And you can tell London that. LEWIS I will. UTZON And the progress on the mullions for the glass panes? LEWIS Concrete is the shot. The plywood has construction problems.

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UTZON You’ve looked at the acoustics? LEWIS Steel and concrete is the solution. UTZON Steel complicates construction. The cost is more and the results inferior. LEWIS Plywood gets nail sickness. WHEATLAND Jesus Mick. Haven’t you investigated this proposal at all. There are no bloody nails. LEWIS I assumed that’s how it would be done. WHEATLAND Look back through your files. It’s quite clear. UTZON Ove (Ooveh) knows this. London has the detail. LEWIS I’ll check it out. WHEATLAND Okay LEWIS These alterations and modifications. It’s time they stopped. UTZON I agree. WHEATLAND There’s too many come after bastards. UTZON We all want these changes to cease. But if Mister Premier Cahill hadn’t forced things the opera house may never have begun.

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LEWIS Political expediency. WHEATLAND The art of the possible. LEWIS But seriously. Can’t we draw a line? Let’s have no more changes underground. WHEATLAND That’d be lovely. Only today the ABC wants more seating and a larger orchestra pit. UTZON Bill is right. It’s a pity the ABC has taken all this time to tell us its requirements. It should have been in the competition documentation. WHEATLAND We hear on the grapevine they’re saying the orchestra will stay at the Town Hall. UTZON A political problem. LEWIS It’s very hard on everyone. The contractors are tired of redoing work they completed months ago, years ago. They call me gelignite Jack. WHEATLAND You could be up for a Nobel prize. UTZON (Smiles) Mister Alfred Nobel may not see the humour. LEWIS It’s an appalling waste of money. Waiting for the next lot of drawings, putting up, pulling down. The political situation is dynamite.

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WHEATLAND (smiles) You’ve won the prize. It’s the same in this office. We have Wood here daily finding fault and wondering what the hell we are doing. He’ll be here later with his usual demand for working drawings. LEWIS Chrissake. Civil and Civic had 300 odd drawings after the original contract expired. UTZON It is not a situation we like. WHEATLAND The market place is saying it’s all our fault. If the government changes we’ll be lucky to survive. Where that leaves you I don’t know. We are all in this together. UTZON

(To Lewis) You place me in an awkward position by presenting reports directly to the government. I’ve tried to explain to your senior partner his unprofessional behaviour along with yours. This whole process of dividing structure and architecture minimises the importance of the architect. I’m seen as only a sketch maker. Because of this it is difficult to persuade the government to support me and obtain permission for important structures and architectural detail for stage three. LEWIS I know there have been difficulties. This may have been caused by problems between Sydney and London. If the client asks for information we have to reply. UTZON You destroy the architect’s position and the relationship with the client. The Sydney Opera House will be destroyed completely if I’m not fully in charge.

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LEWIS I’m sure what you say is a misinterpretation of Mr. Arup’s position. I’ll speak to London tonight. WHEATLAND Mick, let’s go and inspect the orchestra pit and see what the ABC wants. UTZON I hope I’ve made myself clear. And you tell London that. LEWIS I will. WHEATLAND (to Lewis ) See you in about half an hour down there. LEWIS

EXIT See you then. WHEATLAND Jorn. Anything further from the opera and concert mob? UTZON Not since the last change. WHEATLAND Still the oboe versus the soprano? UTZON Acoustics, panelling, row spacing, WHEATLAND Spacing?. . . Two foot seven or three foot. That is the question. UTZON (smiles) Whether ‘tis nobler to suffer or take up arms against a sea of trouble. WHEATLAND (laughs) Watch the slings and arrows.

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UTZON We of the long ships are skilled at that. WHEATLAND Perhaps we try too hard. The client may just want a striking and impressive building. UTZON I will not compromise the building. My building techniques will become the standard for the future. WHEATLAND Does the client understand the difference? Between adequacy and perfection? UTZON My brief is not for an adequate building. The competition documents set the standard. So the problem is? WHEATLAND Views change. It’s seven years since the competition. The government’s under pressure. UTZON The Executive Committee changes its requirements as committee members change. These so called further thoughts require innumerable amendments. WHEATLAND It’s not a criticism. Just be aware the natives are restless. UTZON I have a watertight contract. It won’t come to that. WHEATLAND Hope not. . . . just be careful. UTZON (smiles) You worry too much my friend. WHEATLAND These prototypes. It’s bloody hopeless.

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UTZON I’ve spoken again to minister Ryan Wood will be here later. WHEATLAND I’ve been trapped before with the lowest tender. UTZON It’s so frustrating. These basic principles. WHEATLAND Just a new idea for the works department. UTZON (nods) Public Works keeps wanting these completed drawings. Surely they can’t mean it? WHEATLAND Perhaps the Works Department might understand if you told them meat pies and Holden cars don’t require individual drawings. . . UTZON (laughs) You try the next time you’re in the Department.

UTZON Here’s Mister Wood. Right on time. WOOD ENTERS Afternoon, Jorn. . Bill.

UTZON Afternoon William. WOOD Moves to Mayan Temple photograph

You have to admire them. UTZON It’s an inspiration.

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WOOD Back to work. . The minister is still insisting tenders are called quickly for stage three. UTZON (nods – grunts) WOOD He wants to do it on the basis of completed working drawings. UTZON I’m not prepared to commit myself any further without the prototypes. WOOD You don’t have the time or the staff. UTZON The prototypes can be taken off existing drawings WOOD These prototypes are complicated, expensive and numerous. . . The minister will not authorize any more. UTZON The ceiling prototypes are essential. The ceiling shape is determined entirely by the sound response and not by the shells. WOOD The Department recognizes the prototype building is the only way to get it perfect. We can’t have this extravagance. UTZON It’s not an extravagance. Lead lining the boxes will keep out the harbour noise. WOOD And Symonds will do this? UTZON They will make their own workshop drawings like any metal factory.

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WOOD Can’t you provide the drawings? UTZON That would be interference in Symond’s workshop. It’s not ethical. I can’t do it. WOOD The minister is receiving a few rumblings from rival firms wanting to participate. UTZON It’s the old arguments again. Competitive public tender won’t work. I have explained this to the minister many times. Why can’t he see it? WHEATLAND Bill, we can’t keep doing this. You complain about slow progress and it’s the minister’s own doing. WOOD I don’t make government policy. This comes out of cabinet. WHEATLAND It’s time they got someone in there who can tell the difference between a sheep and a slide rule. WOOD Let’s not get into personalities. The minister has to satisfy cabinet. UTZON I must satisfy myself today and the rest of the world for eternity. WOOD Rival firms want to see plans. They are asking why the fancy ceiling job is not being put to tender. UTZON (irate) It’s not a fancy ceiling job. WOOD I apologise.

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UTZON It’s complex. Symonds has the only press capable of producing plywood 50 feet by 9. WOOD Other firms can scarf the sheets. UTZON This is a risk I cannot take. There could be structural failure or ugly joints. WOOD I’ll take your advice back to the minister. He won’t be happy. WHEATLAND And while you’re at it tell him from me we’re not happy. Tell him to get his finger out. WOOD I’ll ignore that. You both don’t seem to understand that the public have certain expectations and that this State has many needs and wants. Cabinet tries to satisfy all of these. WHEATLAND That’s fine. But the opera house. . . Is it a need or a want? WOOD That’s a political question. I must do as directed. WHEATLAND I must do as directed. Shit make a decision for once in your life. Don’t hide behind the façade of cabinet and the bureaucracy. UTZON Mister Wood I will give you a letter if it would help you explain our concerns. WOOD That would help. UTZON What else?

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WOOD The hall seating. UTZON Not another change. WOOD Clarification. . . The minister is concerned about satisfying competing interests. UTZON I can’t keep repeating myself. These questions waste time. What is wrong? WOOD The opposition is putting pressure on the minister at question time. UTZON But he has the answers. WOOD (irritated) Jorn. Just answer. Can balconies be built? UTZON These are old arguments. I explained long ago to Sir Charles Moses that balconies cause acoustic problems. WOOD The minister is being pushed by rival groups. The Sydney Symphony Orchestra has 10,000 subscribers. Comparisons are being made with the Metropolitan and Vienna. UTZON (angry) These questions were clarified years ago. The Technical Panel was satisfied. The Elizabethan Theatre was at the meeting. Check your files. WOOD I’ll refer the minister to them.

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WHEATLAND Here we go again. As Jorn says this whole business of bloody balconies has been sorted out. Check your records. Why is it all this business doesn’t make the press? No. . . it’s always Jorn’s fault. UTZON These questions will be raised again with a new government? WOOD You know I can’t comment. A new minister may see things differently. UTZON (smiles) Of course. But you have a view. Any new minister would be guided by you. You would make recommendations. WOOD A new minister may change the whole department structure. I could be gone. It’s all conjecture. Have you had another look at the distance between the stage and back rows? UTZON The major hall can be manipulated for concerts, opera, meetings etc. The acoustics are critical with these narrow halls. WOOD The narrow site creates its own problems. UTZON The vision difficulty can be overcome by placing some of the audience on stage. WOOD The opera lovers won’t hear of it. The full stage is needed. UTZON On concert nights the audience from the back rows can be placed on stage.

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WOOD How many? UTZON About 1000. WOOD Subscription concertgoers wouldn’t want to see the neck of the soloist all night. UTZON Of course not. WOOD The alternatives then? UTZON I’m looking at extending the seating by cantilevers over the access stairways. WOOD How will the view from the new seats be? UTZON There are problems. Row spacings may have to be changed. WOOD The competition required a dual purpose hall. It appears to me it is impossible to provide for the needs of opera and concerts. UTZON The ABC requirements are proving difficult. WOOD Off the record the minister probably agrees too. The reality is we are stuck with it. UTZON I’m building a true and honest building. WOOD Jorn, look at it from the government’s view. The problems are mounting. Your methods are beyond the traditional norms. Conventional working drawings and the tender system are sacrosanct.

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WOOD (continued) The minister has a political commitment which will soon be tested. Australia isn’t ready for industrial architecture. Think about it.

SOUND Telephone rings. UTZON Picks up phone hand piece. Good morning. Jorn Utzon SOUND : Amplification

RYAN (off stage) Minister Ryan. Call from the Herald re your interview this morning. This is a government project. We decide who talks to the press and what information is researched and when it is released. You are the architect not the government mouthpiece. The government is paying. We do the talking. I’ve managed to persuade the Herald to pull the piece and now I’ve got to give them an exclusive. We don’t need this and I don’t want you to talk to the media again. Have I made myself clear? UTZON Very clear.

RYAN SOUND: Phone slam LIGHTS BLACKOUT

End Act I Scene 4

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Act I scene 5 Act I scene 5 Same Day – Evening Palm Beach, Sydney - home of Jorn Utzon, breakfast / kitchen area. UTZON (calls) Lis, Lis. Home. LIS ENTER Late again. UTZON Time gets away. LIS How did it go? The interview. UTZON Err . yes and no. LIS What’s happened now? UTZON The reporter was fine. The minister wasn’t. LIS You saw the minister? UTZON No. He rang and …… LIS And, and…. UTZON

He rang and cancelled publication of the interview. Said I had no right to give it. That he was in charge of the release of all information. He was very upset. LIS What did you say? UTZON Nothing.

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LIS Nothing Nothing! You let these people walk all over you. UTZON The minister didn’t give me a chance to reply. He slammed the phone. LIS You could’ve rung him back Why didn’t you? UTZON I was taken back and upset. He probably wouldn’t have taken the call. LIS I was right you are not wanted. It’s time to go. Your work is not appreciated. It’s more important than these politicians. They only have their eye on the next election. You know that. Why do you put up with it? UTZON The situation after today has changed. It is necessary now to finish quickly. You have been right. I didn’t see it. There are many difficulties ahead. Wheatland tells me to be careful. LIS Jorn, Jorn we’ve walked into something here we don’t understand. These people are using us and playing with us. I want us to be home again. UTZON

Embraces Liz Soon, soon. LIGHTS fade to Blackout. End Act I INTERVAL.

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Act II Scene 1 Act II Scene 1 June 1965 – Lunch Hour Parliamentary Office of Minister for Public Works NSW Legislative Assembly – Sydney Minister Davis Hughes, suit coat on back of chair and tie undone, paces the floor of his office, sandwich and beer in hand, shares a quick scratch lunch with Bruce Scott, Sydney Morning Herald reporter. The Liberal Country party has gained office by defeating the Labor Party. Minister Hughes is taking Bruce Scott into his confidence with an off the record discussion over a quick lunch. Office desk is strewn with sandwiches, serviettes, and dim sims, beer glasses and jug of beer. Hughes paces floor and Bruce Scott sits at central desk eating. SCOTT Haven’t seen you since the election. Congratulations. HUGHES Thanks. We worked hard. SCOTT Enjoy it then. HUGHES We will. Lots to be done. This is off the record. You know? SCOTT Right. HUGHES

Right. SCOTT Of course. HUGHES We said we’d bring accountability in government to the opera house. And we will. SCOTT

You have a press statement? HUGHES We’ve all suffered because of it. You know that. Don’t ya.

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SCOTT So what’s your plan? HUGHES Might even close it down. Who’d miss it? SCOTT But the cost? HUGHES That’s the whole bloody point. The bloody cost. SCOTT But it’s nearly half-finished. HUGHES Close it down. Let the weeds grow. Let the seagulls shit all over it. SCOTT Every ferry crossing the harbour would get an eyeful. HUGHES Use your scone. That’s the whole bloody idea. A memorial to old Joe and the Labor party. They’d never win another election. SCOTT You’re not serious? HUGHES Lasting tribute to Labor party folly. SCOTT What does premier Askin think? HUGHES Cabinet meets this afternoon. I’ll bring it up. That’s where you come in. SCOTT How? HUGHES You know. One of those journo’s bits. From highly placed sources or something. I don’t have to spell it out.

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SCOTT Scribbles in notebook HUGHES Picks up a dim sim Fills beer glass Paces floor around table. How’s it going. Got to get into Cabinet soon. SCOTT Continues scribbling. Nearly there. HUGHES Eating dim sim Drinking Good. Good. These dim sims are a bit of orright. Have another one Bruce. Drink up. How’s it coming? SCOTT (nods)

HUGHES Need a bit about the depressed economy and the drought. Don’t forget the drought.. Worth a lot of votes in Armidale. Worth a lot of votes. Just keep my name out of it. Make sure of that. SCOTT Okay. Okay.

Continues to scribble HUGHES Selects another dim sim. This opera house. It’s a pain in the arse. Don’t you agree? SCOTT Continues writing HUGHES Your editor thinks so.

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SCOTT

How’s Cabinet going to take this? HUGHES That’s my worry Bruce me boy. SCOTT A bit bloody drastic. HUGHES Tadicks, just tadicks. SCOTT What then? HUGHES Only the first shot. I’ll let you know when I’m ready to fire the next one. SCOTT When? HUGHES Can’t tell you everything. There are many ways to peel an orange. As someone once said. SCOTT What about the orange peeler? HUGHES Accountability. Accountability. Fancy being the Minister for Public Works and not controlling the biggest works in town. Unbelievable. SCOTT Changes then? HUGHES Plan B and C. SCOTT Givus a hint. HUGHES Enough. I promise you when it breaks you will be the first to know.

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SCOTT Is he going? HUGHES Bruce. Bruce. Patience. SCOTT He is? Isn’t he? HUGHES Did I say that? Did I say that? Remember this is off the record. SCOTT He’s got a State contract. HUGHES Some contracts require working drawings. SCOTT And finance. HUGHES And finance.

Tightens tie. Puts on suit coat.

Gotta get into Cabinet.

Hands plate to Scott.

Finish the dim sims. LIGHTS BLACKOUT.

End Act II scene 1

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Act II Scene 2 Act II Scene 2 July 1965 Sydney NSW morning Office of Architect Jorn Utzon, Bennelong Point. Army style, white painted wooden hut with one wall of concrete block which separates it from Structural Engineers Ove Arup’s twin hut. Office is furnished with tables, phones, drawing boards, filing cabinet, plan cabinets, fridge, water cooler, one wall has large photograph of Mayan temple and sketches of a series of overlapping spheres. WHEATLAND sits at his desk, head bowed, poring over files when UTZON enters office. WHEATLAND Sits at desk looking at files. UTZON ENTERS Takes off hard hat and places on desk Morning Bill. You look worried. WHEATLAND (nods) Jorn. . . Just the claims. Cash flow. Cash flow UTZON Sits at his desk Keep with it. Been down to the halls. WHEATLAND Still problems? UTZON Yes. WHEATLAND Got a moment?

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UTZON Of course. WHEATLAND

The advances are behind. And some of the work you did in Denmark hasn’t been claimed. UTZON I haven’t claimed for my engineering work. I thought it was prudent to hold it. The architectural fees have been paid. WHEATLAND The advances against the fees are out of whack. UTZON The new government is still settling in. WHEATLAND That could explain the delay. . . New stationery. UTZON (laughs) Surely not. Don’t ask Mister Wood. WHEATLAND He mightn’t see the joke. UTZON He’ll be here later. WHEATLAND Usual visit? UTZON Yes and no. . . Says the new minister Davis Hughes has a few changes. WHEATLAND These claims. We’re sailing a bit close to the wind. Payday Friday. UTZON Mention it to Wood.

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WHEATLAND It won’t hurt. Not his department though. UTZON He should be told. WHEATLAND The double taxation eats into the payments. UTZON It cannot be avoided. There’s no reciprocal agreement with Denmark. WHEATLAND Part of the problem is with the accounts section. They can’t sort out the architectural from the engineering. UTZON It’s all in the contract. You’ll have to go and see them. WHEATLAND I will. UTZON Still problems with the sight lines. WHEATLAND The area’s so narrow. We can’t blame poor bloody Bennelong. UTZON The galleries are the real problem. WHEATLAND The raking? UTZON The incurved roof makes the rows tight. WHEATLAND Let’s just think about it for a while. UTZON Sleep on it.

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WHEATLAND Monier are ready to check the new batch of tiles and cladding. UTZON Good. I’ll be interested to see them. See if Michael Lewis is in. Take him with you. WHEATLAND Okay. Have you heard the rumours since the government changed? UTZON I’ve heard a few. We can’t be distracted by them. WHEATLAND There must be some truth in them. UTZON I don’t understand. What is it about this country? They will be proud of my building. You’ll see. WHEATLAND It’s just the first one. A new idea. Ar .. I don’t know. It’s something like that. UTZON Australians like new ideas. New things. As a young country it has done so much. Artists, singers, dancers, writers. The world knows them. WHEATLAND They support you. I know. The silent majority. UTZON Why be silent as you say? I’m very sad. My wife is very sad. WHEATLAND I know. She told me. You all came to stay. To enjoy the warmth and sunshine.

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UTZON Lis and the children. She worries. WHEATLAND I shouldn’t have mentioned it. It’s only pub talk. UTZON Pub talk? WHEATLAND Rumour. It’s the beer talking. UTZON Beer talk. In Denmark too. WHEATLAND Heinekin? UTZON No. Carlsberg. WHEATLAND Good stuff UTZON The best. WHEATLAND The politicians. What can I say. Are the fly in the ointment. UTZON A pain in the elbow. WHEATLAND (smiles) Spot on. A political football. Maybe not. Its birth was premature. UTZON It’s here. Let’s put on its party dress. We’re going to a graduation.

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WHEATLAND (smiles)

Thumbs up Onya Jorn. Onya. UTZON (laughs)

Thumbs up Onya. Ah Mister Wood is here. Right on time. WOOD

Knocks at door ENTERS Good morning gentlemen. UTZON Morning William. WHEATLAND Morning. WOOD Glances at desk of Wheatland Bill. Into the paper work. WHEATLAND

Glad you mentioned it. We were just talking about you. WOOD (smiles) Giving someone else a rest. WHEATLAND Wondering if you can stir things along a bit. The advances are behind. WOOD A bit out of my line but I’ll see the chief clerk and put in a word. WHEATLAND Thanks. It would help.

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WOOD The new government is restructuring. New ministers. Combining departments. The usual. Could explain your problem. WHEATLAND See what you can do. WOOD Jorn. . . The new minister Davis Hughes has brought the opera house under his direct control. UTZON What does that mean? WOOD The Opera House Executive Committee will no longer function. Public Works Department will control it UTZON Why? WOOD It came out of cabinet. One of the many changes. Minister Hughes didn’t explain. The minister will authorise all advance payment of fees. Hinges on the production of working drawings. UTZON So you will authorise payment? WOOD You could put it that way. WHEATLAND There’s no other way to put it. You’re treating the opera house like the building of any other public shit house. You’ve reduced it to that level. Just another bureaucratic building to be completed.

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WOOD It’s the minister’s decision. I suggest you accept it or.….. WHEATLAND Or what? WOOD You don’t need me to spell it out. UTZON I had a very good working relationship with the Executive Committee. What of it? WOOD You can raise these matters with the minister. He will be contacting you. UTZON It is disappointing it has come to this. I don’t understand the minister’s reasoning. WOOD I can’t discuss government policy. The minister will answer your concerns. WHEATLAND (angry) Come clean. It comes from you. WOOD That’s not true. WHEATLAND You’ve never agreed with Jorn’s vision. WOOD Government buildings aren’t the place for experimentation. WHEATLAND At least you’ve admitted that. WOOD It’s not only government buildings. The integrity of any building is paramount. UTZON Aren’t you prepared to go beyond the purely functional?

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WOOD Working for the government doesn’t allow that freedom. UTZON Your conscience could. WOOD Bureaucracy doesn’t allow that flexibility. WHEATLAND Maybe you’re in the wrong job. . . . Or perhaps you’ve found your niche? WOOD Niche or not. There are many considerations. WHEATLAND Your government pension for one. WOOD I object to that. WHEATLAND I apologize. UTZON (emotional) Your view is respected. There are differing views. Architectural theorists wrestle with these questions. Your view is understandable if you recognize only the functional. There has to be more. WOOD It’s relationships. Ceilings and vaults. UTZON Can’t you see the totality? Ask yourself what is its human purpose? What is its goal? WOOD I believe in sound practical principles based on the experience of the past. WHEATLAND But what of the future?

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WOOD Basic principles. UTZON Bennelong Point has given Australia a once only chance of interlocking landscape with architectural environment. A high rising building with a cosmic expanse of sea and sky. WHEATLAND It prepares and welcomes its audience. WOOD It has been argued the opera house is not functional in a structural sense. It was determined by caprice. UTZON (gestures wildly) As one architect to another I cannot accept that. WHEATLAND Ove Arup says it will be the most marvellous thing built this century. WOOD He’d have to say that. WHEATLAND He didn’t have to. WOOD To fulfil a building’s purpose you work from the inside out. This has not been the case. WHEATLAND Wait for the end result. WOOD These shells are really quite arbitrary. There is no relationship between inner and outer space. They are superfluous. WHEATLAND (shouts) You believe it’s dishonest. WOOD I didn’t say that.

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WHEATLAND You didn’t need to. UTZON (calmer) Gentlemen let’s move on to these new changes and procedures and the loss of the Executive Committee. Mister Wood we are sorry this has arisen. I will certainly speak to your minister and express our feelings. Please convey to him our concerns. I must agree with my colleague that we see no reason for this change. I will be contacting your Premier Askin and will let him know in no uncertain terms of our displeasure. I hope this does not foreshadow future events at Bennelong Point. WOOD I’ll convey your thoughts to the minister Mister Utzon. WHEATLAND

Puts on hard hat If there’s nothing else I’ll pick up Mick and check the colour of Monier’s new batch. WOOD If it’s okay I’ll come with you? WHEATLAND (resigned) Who am I to refuse? UTZON

Puts on hard hat We’ll all go. ALL EXIT LIGHTS BLACKOUT End Act II scene 2

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ACT II Scene 3 Act II Scene 3 December 1965 Sydney NSW Afternoon Office of Minister for Public Works, elaborate marble fireplace, oil painting of Queen Victoria’s Diamond Jubilee procession, and group of bewhiskered men forming the 1856 cabinet. Tall bookcase and carved furniture and desk. Minister for Public Works Davis Hughes seated at his desk as WOOD, on his daily visit, enters. HUGHES Morning William. Any progress? WOOD (nods) Sits at desk in front of Hughes Minister. Not a lot. HUGHES Same story? WOOD Pretty well. HUGHES

Let’s not have any more of his bullshit. WOOD He’s grown used to working with the Executive Committee. HUGHES We promised the electorate we would see this through. I’m tired of your excuses. If you can’t get these drawings. I’ll get someone who can. The Premier agrees with me. WOOD He’s breached his contract. HUGHES That’s a long bow. WOOD Check it out then.

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HUGHES The Cabinet wants stage three commenced and this whole nightmare finished. Any ideas? WOOD Change architects. HUGHES That has to be a joke. WOOD It’s one alternative. HUGHES (angry) On what grounds? On what bloody grounds? Have some bloody sense. Crown Law says his contract is ironclad. Christ we’d be up for millions. It would drag on and on in the High Court. It would be the next election issue. No bloody way. WOOD What if he resigned? HUGHES Be realistic. Why would he? It’s his baby. You’ve heard him often enough. His vision. His baby. Chrissake. WOOD You’ve slowed the funding, his cash flow’s tight. He’s starting to hurt. Put the screws on. Take it to Cabinet. It doesn’t have to be down to you. HUGHES Don’t play the innocent. You’d like him to go. You and your architect mates hate his guts. All this opposition about form, function, utility. Professional jealousy. Admit it. He’s a genius. Thanks for your advice. I’ll take it to Cabinet.

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HUGHES (Continued) (stands) Places file under arm Walks to doorway to exit Turns back to Wood. Get me a short list of possible replacements. EXIT LIGHTS fade to BLACKOUT

End Act II scene 3.

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ACT II Scene 4 Act II Scene 4 February 1966 Sydney NSW Afternoon Office of Minister for Public Works, elaborate marble fireplace, oil painting of Queen Victoria’s Diamond Jubilee procession, and group of bewhiskered men forming the 1856 cabinet. Tall bookcase and carved furniture and desk. Minister for Public Works Davis Hughes seated at his desk as Jorn Utzon enters. UTZON (Knocks) ENTERS Moves to desk Good afternoon minister thank you for seeing me. HUGHES Stands at desk Shakes hand of Utzon Good afternoon Mister Utzon. UTZON Jorn, please. HUGHES Jorn. Jorn. Take a seat. Sits at desk UTZON Sits at desk Thank you. HUGHES How can I help? UTZON

These recent developments of payments being withheld. Your department secretary has refused payment. HUGHES He is acting on my instruction. Nine years is too long to keep fielding questions from opera and concert groups. UTZON Early development was arduous. It took me some time to convince the engineers that their first scheme was absolutely hopeless.

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UTZON (continued) The competition requirements have been changed. Finding reverberation times to suit everyone is difficult. HUGHES Reverberation, reverberation. That’s all I friggin’ hear. UTZON Concert and opera require different frequencies and evenness of distribution. HUGHES This dual hall concept. Is it necessary? UTZON (smiles) I suggest you look at the original documents. HUGHES (hurried) Of course. Of course. It is my responsibility to complete this building in the shortest possible time. UTZON The opera house has won praise throughout the world from many professionals. HUGHES That is not my immediate problem. This whole plywood fiasco has to end. UTZON Then let Ralph Symonds undertake the prototypes. HUGHES

Thumps desk. They are in receivership. Can they guarantee deliveries at rates and times required? Do they have the financial resources to meet the demands? What is the cost basis for this development work? These basic problems need to be resolved.

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UTZON The full sized mockups are necessary and urgent. I would not embark upon these projects without the consultant’s support. HUGHES I’m advised the scarfing of the plywood would not materially affect the appearance of the work. UTZON You’ve answered your own queries. The reason for the prototypes is to answer these. HUGHES We’re sliding into a state of inanimation. Stage two is proceeding towards its close. When does stage three commence? UTZON (stands) I’ve outlined my proposals to you. I need the funding for the prototypes. How can you alter everything against my advice? HUGHES (stands) I’ll call tenders for any drawings you have. UTZON We are in danger of repeating history. Never again. HUGHES Perfect methods from perfect material. The Government does not have endless funds or time. UTZON I am giving you a building Australia will be proud of. HUGHES At government expense. UTZON Why now? Why are my proposals being questioned like this? You are undermining my authority.

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HUGHES No architect in the world has enjoyed greater freedom. Limitless concepts and limitless cash. UTZON The Executive Committee has always supported me. My brief has been to create the perfect opera house. HUGHES It can only be done by proper controls. The normal relationship of architect and client exists. As Minister for Public Works I am your client and it is your responsibility to meet any reasonable requirements. UTZON The previous arrangements worked very well. HUGHES These fee claims. I thought it had all been sorted at our last meeting with Wheatland. Your recent claim is being examined and will be paid this week. I twice informed you of this. I don’t appreciate your assertion that you will not be paid. UTZON These fees are for engineering design for stage layout and machinery. The periodic advances are not being received. I cannot pay my staff. This is unsatisfactory. I’ll have to put them off. HUGHES You have the solution. Periodic payments will be forthcoming when you supply the drawings requested. UTZON (irritated) You are manipulative minister. I won’t say dishonest, but petty may suit.

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HUGHES (infuriated) Do you know who you are talking to? I’m a minister of the crown. UTZON Minister or not. You are not a credit to your high office. HUGHES (angry) Your view is distorted, selfish and mean spirited. My duty is to the public and to complete this building quickly. Here in Australia you do what your client says. I will give you your answer by the end of the week. UTZON There has been no collaboration on the most vital items of the job in the last many months. Minister, it is finito I cannot accept your conditions. I see clearly that you do not respect me as an architect. The opera house is sick on the bed. It could die. I dare not go on. You have forced me out. HUGHES I accept your resignation. Your contract is terminated forthwith.

LIGHTS BLACKOUT End Act II Scene 4

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Act II scene 5 Act II scene 5 Same day 7 hours later (late evening) Palm Beach – Sydney - home of Jorn Utzon, breakfast / kitchen area. Lis Utzon sits at breakfast table writing a letter. LIS Sits at breakfast table. UTZON ENTERS Hurriedly throws brief case against cupboard. LIS (startled) Jorn what is it? UTZON Moves to Lis and takes her in his arms. LIS What is it? UTZON Pulls Lis even closer LIS Darling, darling. What’s happened. UTZON I was forced out. My contract is stopped. LIS Tell me. UTZON I couldn’t ring. I needed to be here. LIS Holds him closer UTZON

It’s come to this.

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LIS How? when? UTZON Hughes’s office. All these ceaseless demands. This afternoon. I had no choice.

Sits at table. LIS Moves to kitchen bench makes coffee What will happen? UTZON My staff. I don’t know. LIS And Lewis? UTZON

I phoned London. Ove was out. I have left a message. LIS What will he do now? UTZON May not continue. Perhaps the interior. LIS Ove’s always wanted that. UTZON Let’s not go over it again. LIS Sorry. UTZON (nods)

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LIS Places two cups of coffee on table. Sits at table. We need to ring the children. UTZON I meant to.

It became too much. I’d like them home tonight. They could drive up. What have I done to them? LIS I’ll phone the folks. Let the families know. UTZON I’d rather you didn’t. Things might change. LIS They should know. It will be splashed across the world tomorrow. UTZON You’re right. LIS The Sydney architects. You have their support? UTZON The younger ones. No doubt it has been conveniently leaked.

SOUND Telephone rings and rings. LIS

Stand to answer telephone.

UTZON No. Don’t.

SOUND Telephone rings out LIS Takes telephone off cradle.

Tomorrow.

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UTZON Tomorrow. Together. LIS

Embraces Utzon Yes UTZON (agonises) My dream. . . . My dream. The sea. . . . The sky.

Sits with head in hands.

LIS Are you all right? UTZON Yes. Nine years. . . . Nine years. LIS Tomorrow we can talk, as a family.

LIGHTS BLACKOUT

End Act II scene 5

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Act lI Scene 6 Act ll Scene 6 March 1966 – lunch hour PROJECTION ON SCREEN IMAGES OF OPERA HOUSE UNDER CONSTRUCTION, TOWER CRANES, HOLLOW ROOF RIBS WITH CRISS CROSS BRACING ; NO TILES. PROJECTION ON SCREEN TYPICAL DOMAIN SPEAKERS AND CROWD PROJECTED ON TO OPERA HOUSE WORLD NEWSPAPER HEADLINES CONSTANTLY CHANGING & SPINNING. ‘Opera House Finished’ ‘Utzon Goes’ ‘Danish Disaster’ ‘Political Victim’ ‘Job Must Go On’ ‘Sydney Experiment Fails.’ ‘Exit Mr. Utzon’ ‘Angry Clash on Fees” SPINNING HEADLINES CEASE

Public lunch hour rally in support of Utzon in front of projection of Opera House. Crowd gathers with Australian and Eureka flags, placards, posters which read ‘ Utzon Must Stay’, ‘Save our Opera House’

‘ Angry Clash on Fees’ ‘Burley Griffin Now Utzon’ ‘We Need Utzon’ Crowd milling around with placards, posters, and flags addressed by speaker using

megaphone before marching up Macquarie street and presenting petition to Legislative Assembly.

(All members of cast may be crowd members and/or changing spruikers) SPRUIKER No. 1 (with megaphone)

Stands with Spruiker No. 2 on Platform We are here to save our opera house. We are here to bring back Jorn Utzon CROWD

Waving and hoisting placards and flags Cheers, clapping Hear, hear. Fair go Bring him back! Bring him back! We need Utzon! We need Utzon!

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SPRUIKER No. 1

(with megaphone) Friends. This indeed is a terrible moment for Sydney and our nation. Let’s march to parliament and demand his return. Only Utzon can complete the opera house. Don’t let this opportunity slip from our grasp.

CROWD

Waving and hoisting placards and flags.

Cheers, clapping. Onya. Fair go. Save the opera house! SPRUIKER No. 1 (with megaphone) We will be failing ourselves and Australia if the opera house is not completed. Utzon is needed. Bring him back!

CROWD

Waving of placards and flags. Bring Utzon back! Bring Utzon back! He only has us! He only has us! Cheers and clapping. We’re with you Jorn. SPRUIKER No. 2

(with megaphone) Stands with Spruiker No. 1 on platform.

Utzon’s out. He’s gone. The big end of town told him to go. They said they would get him. The Tory bastards want everything for themselves. The people have the right to an opera house. Let’s hear it for him! Let’s hear it for him!

CROWD

Waving of flags and banners Save our opera house! Save our opera house! Cheers and clapping.

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SPRUIKER No. 1

Stands on platform with Spruiker No. 2 This is our only chance. Only Utzon can do it. The whole world is watching us.

Let’s show as Australians we can complete this building. Utzon is bringing us the future. Complete the opera house. Bring Utzon back! Bring Utzon back!

CROWD Waving flags and banners Bring Utzon back! Bring Utzon back! SPRUIKER No. 1 Leaves platform and leads crowd. To the barricades! Forward march. Save our opera house! Save our opera house! Bring Utzon back! Bring Utzon back! CROWD Waving flags and banners Follow Speaker No. 1 Bring Utzon back! Bring Utzon back! Save our opera house! Save our opera house! SOUND crowd background LIGHTS fade ALL EXIT STOP BACKGROUND PROJECTION OF OPERA HOUSE PROJECT NEWSREEL OF MARCH LIGHTS CONTINUE TO FADE TO BLACKOUT

End Act II scene 6

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Act II scene 7 Act II scene 7 December 1966 Afternoon Legislative Assembly, Sydney NSW. Minister for Public Works Mr. Davis Hughes, member for Armidale faces Shadow Minister for Public Works Mr. P.N. Ryan. (note with change of Government position of ministers has reversed from Act I) The Speaker (gown and wig) in his Chair of Office, controls the debate and asides from unseen members of Parliament – off stage. LIGHTS Separate spotlights over Minister Hughes and shadow Minister Ryan and Speaker.

RYAN Stands, opposite Hughes.

Throughout the world support has rallied behind him. You will recall the march from the Opera House up Macquarie Street to Parliament House carrying placards and calling for Mr.Utzon’s reinstatement. Patrick White, Hal Missingham, Harry Seidler all marched with a thousand others. A petition of 3000 signatures was presented to the Premier. The Royal Australian Institute of Architects believes that the true spirit of the Sydney Opera House will be lost. However, we do question the honourable minister’s assertion that Mr. Jorn Utzon resigned. It is my understanding that the honourable minister exerted undue pressure on him and he was given no alternative. MEMBERS (Off Stage OR tape) Shame, shame. Withdraw. Sit down you mug. RYAN During the past months we have seen Jorn Utzon viciously slandered and subjected to press trial by rumour and inspired leak. He has been presented as the man solely responsible for intolerable delays and absurdly increasing costs.

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MEMBERS (off stage OR tape) Shame, shame. Withdraw. He never wanted him. Go back to the bush. HUGHES

Stands. opposite Ryan Mister Speaker, Mister Speaker how much longer have

we to listen to this. Surely standing orders have been breached with this great grandstanding exercise for the press by the honourable member for Marrickville.

SPEAKER Minister Hughes will resume his seat.

The member for Marrickville has the floor. HUGHES Sits. RYAN I was very pleased the honourable the minister brought

to the House’s attention some of the technicalities of the opera house roof construction.

It is true that the roofs are the biggest in the world and

nothing as intricate has ever been constructed. It is also true Mr. Utzon’s entry met the competition

conditions. Yes the engineers did have difficulties. But Mr. Utzon solved these for them. LONE MEMBER (off stage OR tape) He did it with an orange mate. MEMBERS (laughter -off stage OR tape)

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RYAN I thank the honourable member for that information. But as we were reminded at the time. ‘Sometimes an orange is just an orange’. It is understandable that the relationship between Mr. Utzon and the engineers became a little strained. I understand a certain amount of professional jealously was generated. MEMBERS (off stage OR tape) Hear, hear. RYAN It was of interest Mister Speaker to hear the minister advise he was negotiating to appoint contractors for stage three – the interior. Mister Utzon requested on many occasions permission for nominated sub-contractors to construct prototypes. But the honourable minister insisted on competitive tendering. It appears to me the honourable the minister at long last recognizes the value of the nominated sub - contractor. MEMBERS (off stage OR tape) Hear, hear. Hear, hear. RYAN But it’s too late for that. Mister Utzon has left the country. In fact if the truth be known the government never wanted him. During the past election campaign it was suggested that this was the case. It’s a sorry state of affairs Mister Speaker and a reflection on Australia and all of us. The most important issue finally to Sydney and Australia, is the incomplete building at Bennelong Point. The names of the many brilliant men who worked on the building will be forgotten in forty year’s time.

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RYAN (Continued) Utzon’s name alone will remain and school children will

be taught his name as the creator of the Sydney Opera House.

Mister Speaker a tape has come into my possession from

Mister Utzon recorded in Denmark. If I may I would like to play part of it for the House.

Presses tape recorder. Sits. LIGHTS Fade to BLACKOUT over Hughes, Ryan & Speaker PROJECT ON SCREEN ORIGINAL TRAM SHED, PAUL ROBESON VARIOUS STAGES OF OPERA HOUSE CONSTRUCTION PROJECTION OF UTZON (Himself - not actor) SOUND: Tape: Voice of Utzon

I have been asked a number of questions which I would like to answer now. The first is this – would you come back and finish the work in Sydney? The answer is yes certainly.

The second question is – Is it necessary for you to come back? Also the answer is yes.

The next question is – have you got the answer on the two halls, on the multi- purpose hall?

Again I must state as strongly as possible that it is a

crystal clear answer : yes. I stretch out my hand forward to you, Mister Davis Hughes, and appeal to you to have faith in

me, to have faith in my methods and ideas. This building is an honest building, it is a truthful building, it fits like glove to hand on Bennelong Point. I must come back and finish. I appeal to you, the parliamentarians in government and the parliamentarians in the opposition and I appeal to you, the whole working team on the Opera House.

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SOUND : Tape continues And last but not least, I appeal to you the citizens: have

faith in me, have faith in my ideas and my methods. I have proof for my ideas and my ability.

The proof is there in front of you in the form of a

marvellous building, an honest building – the proof that I can carry out, to the last detail my ideas and my vision.

PROJECTION STOPS LIGHTS Dim spots over Ministers and Speaker. MEMBERS (off stage) Hear, hear. Finish it. Yes. yes. Bring him back SPEAKER Slams gavel Order! Order! The Minister for Public Works HUGHES

Mister Speaker I’m pleased to advise the house that I have appointed Mister Peter Hall as design architect to complete the opera house. MEMBERS

(off stage) Save the Opera House, Bring Utzon back! Bring Utzon back! Bring Utzon back! SPEAKER Order, Order. The members will resume their seats.

Order! Order! Order! LIGHTS fade to BLACKOUT

The End

George M. Bavinton © 2006

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TIME LINE

SYDNEY OPERA HOUSE. November 1954 Premier John Joseph Cahill announces the state’s

(NSW) intention to build an opera house in Sydney

December 1956 Competition closes.

January 1957 Jorn Utzon, aged 38, of Denmark selected as contestant winner.

August 1958 Demolition of tram depot at Bennelong Point begun.

March 1959 Foundation stone, laid. Stage 1 construction Commenced (Civil and Civic)

October 1959 State funeral for Premier J. J. Cahill

1961 Utzon solves, geometrically, major roof problems. 1963 Jorn Utzon and family moves to Sydney

March 1963 Stage 2, shells commenced (M.R. Hornibrook [NSW] Pty. Ltd.

November 1963 First rib section placed on podium

May 1965 NSW Labor Party defeated by Askin Liberal Country Party

February 1966 Architect, Jorn Utzon resigns

March 1966 March of support from Opera House to Parliament House (Legislative Assembly)

April 1966 Jorn Utzon and family leaves Sydney.

. . . .