VALE KATE FERGUSON

Kate Ferguson, a vibrant and adored industry presence who parlayed her experience as a gifted actress and musician into a second phase career mentoring young talent, passed away on July 2 after a determined battle with cancer. She was 66.

A combination of extraordinarily diverse skills were recognised early in a young Kate, who achieved acclaim as both a ballet student and a concert pianist protege. But, after fleetingly dabbling in academia (she attended Sydney’s Macquarie University for one year), it would be the stage and screen that became the natural fit for her compelling presence and ‘brunette bombshell’ beauty.

At 14, Kate convinced administrators that she was 17 and secured entry into the Independent Theatre Company’s acting school in North Sydney, leading to a featured role in their production of Adventures in Fol (1974). She aligned herself with The Actor’s Theatre Company in inner-city Ultimo, where she starred as a burlesque cabaret version of Ophelia in The Naked Hamlet (1977); other more mainstream roles included Rosencrantz and Guildenstern are Dead (1977) and Romeo and Juliet (1978). 

Her stage work would include roles opposite John Bell in the Opera House Drama Theatre production of The Lower Depths (1977); Jon Ewing, Rory O’Donoghue and Grahame Bond at the Bondi Pavilion in Hamlet on Ice (1976); and, Trevor White and Christopher Pate in Mike Wade’s 1981 revival of Hair (pictured, below).

From her bit part as ‘Bikini Girl’ in the Jack Thompson vehicle Petersen (1974), Kate became an engaging fan favourite and striking presence on-screen. Her film work included Peter Shillingford’s sexually frank drama, Naughty Girls (1975); opposite Andrew McFarlane in Ken Hannam’s Break of Day (1976); and, as ‘Skipper’ in Norman J. Warren’s bawdy sci-fi romp, Spaced Out (aka, Outer Touch; 1979). Most endearingly, she played ‘Edith’, one of Kristy McNichol’s lady entourage, in Ken Annakin’s 1982 musical, The Pirate Movie, a role that cast her alongside heartthrob Christopher Atkins as well as local stars Bill Kerr, Garry McDonald, Magge Kirkpatrick and Rhonda Burchmore.

On the small screen, Kate vamped it up as ‘Fay’ for a two episode arc opposite Graeme Blundell in Alvin Purple (1976; pictured, left); acted with Belinda Giblin, Hugh Keays-Byrne and Robyn Nevin in Oliver Howes’ rape drama, Say You Want Me (1977); and, supported leads Nicole Kidman and Terence Donovan in John Duigan’s Room to Move (1987). She also secured parts in such popular series as Case for the Defense (1978), Sons and Daughters (1982) and A Country Practice (1982).

By the late 1980s, Kate had refocussed her talent into industry education. A long stint teaching music in various forms, voice coaching and talent mentoring meant less time in front of audiences, but a blossoming reputation behind-the-scenes among the sector’s young, gifted artists. From 1985 to 1987, Kate was Music Director of the Australian National Capital Theatre Company; by 2005, such was her status amongst the burgeoning performer’s pool, she was able to launch Kate Ferguson Management and oversee the career paths of 100s of talented hopefuls. In 2014 and having relocated to Coffs Harbour on New South Wales’ mid-north coast, Kate undertook a senior teaching role as Vocal Coach at the Coffs Harbour Conservatorium. (Pictured, right; Kate, far left, in The Pirate Movie)             

Kate was born into a family of animal lovers - her father worked in the field of animal research; her mother, a veterinary surgeon - and she would surround herself with four-legged friends for much of her life. In her teens, she became an accomplished horsewoman, as well as dedicating her time to the breeding of her beloved Cavalier King Charles spaniels. Later in life, she would fall under the spell of ‘Sunny’, the goat with whom she shared her mid north coast home, along with, at various times, ageing chickens, Blake the snake, possums, water dragons and blue tongue lizards, a goanna, peacock, gecko and occasional echidna. 

Kate Ferguson is survived by her children Bonnie, Leif and Adie, and their extended families. She remained close friends with many of her castmates, including LA-based Atkins, Spaced Out lead Ava Cadell Knecht (pictured, above) and Alvin Purple co-star Anna Simone Scott, and boasted a vast network of friends across the entertainment industries. She will be mourned by many in her adopted hometown, where her contributions to promoting regional talent and the local arts community was invaluable.

THE LIST: FIVE OF THE BEST FROM SUSAN PRIOR

Every film industry needs an actress like Australian film needs Susan Prior. In Hollywood, it’s Judy Greer; the U.K. has Janet McTeer and Joely Richardson; the French rely upon Ludivine Sagnier. Prior and her global peers are that most valued of cast members - the character actor, the presence that ensures depth, integrity and intelligence. Prior has become a beloved presence on the small-screen (All Saints; Puberty Blues; Top of the Lake; The Gloaming) and one of the nation’s most respected stage performers (opposite Hugo Weaving in Riflemind, for director Philip Seymour Hoffman; the renowned Bell Shakspeare production of King Lear).

Recognised early in her career as an asset to any film production (Idiot Box, 1996; Heaven's Burning, 1997; Praise, 1998), our film sector has turned repeatedly to one of our finest actors. Ahead of her online discussion with Actors Centre Australia Head of Acting Adam Cook this Wednesday, May 13, we look to the big-screen for Susan Prior’s five best movie moments....        

THE ROVER (Dir: David Michôd; 2014) Pairing with her Animal Kingdom director brought Prior a long-overdue industry statuette - the AACTA Best Supporting Actress trophy for her role as ‘Dorothy Peeples’. David Michôd’s bleak, dystopian outback-noir needed an actress of rare strength to shine against the eccentricity of leads Guy Pearce and Robert Pattison and ugliness of the setting; Prior (and co-star Gillian Jones) punch through the oppressiveness of the material with fierce, forceful, female potency. 

THE VIEW FROM GREENHAVEN (Dirs: The MacRae Brothers; 2008) Kenn and Simon MacRae’s bittersweet drama/comedy allows Prior her most naturally warm and endearing role. As ‘Kate’, the daughter who yearns for some input into the complex marital dynamics of her ageing parents, Wendy Hughes and Chris Hayward, Prior (alongside a wonderful Russell Dyskstra) is a typically lovely presence; the naturalness of her performance underlines the ease with which the actress projects warmth and empathy on-screen.

A DIVIDED HEART (Dir: Denny Lawrence; 2005) An all-too-rare lead role for Prior in this World War II-set romantic drama. Director Denny Lawrence (Emoh Ruo, 1985; Afraid to Dance, 1995) and legendary producer, the late David Hannay (Stone, 1974; Mapantsula, 1988) cast Prior as Millie Vickery, the wife of an Australian soldier (David Roberts) who finds herself in conflict with her sister (Blazey Best) for the affection of an American serviceman (fellow NIDA alumni, Christopher Stollery). Scant cinema exposure and dumped onto DVD by Roadshow Home Video, the handsomely-produced period piece is testament to Prior’s potent presence as a leading lady given the right vehicle.

BOOK WEEK (Dir: Heath Davis; 2018) In one of 2018’s great support performances, Prior plays Lee, a career high-school teacher whose pragmatism and strength of character helps her boozy, directionless colleague Nick (the equally wonderful Alan Dukes; pictured, right) through some tough times.  “Susan is easily the most hard working, passionate and prepared actress I’ve ever seen,” director Heath Davis told Cinema Australia. “She puts her heart and soul into everything in order to find the truth of a scene. She lives and breathes it like all the greats.” (Read the SCREEN-SPACE Review here)    

ANIMAL KINGDOM (Dir: David Michôd; 2010) Prior and Michôd had worked together as part of the editorial team at industry journal Inside Film, where they became close. When the young director moved forward on his debut feature after years in development, Prior’s involvement in a small but pivotal role as ‘Alicia Henry’ came about through both their friendship and a deep respect for each other's talent. In hindsight, the acclaimed crime thriller launched a new wave of local talent into the global film sector and Prior’s presence was central to a landmark moment in Australian film history.

IN CONVERSATION: SUSAN PRIOR is a live streaming event via the ACTORS CENTRE AUSTRALIA Facebook page. It will commence 7:30pm AEST on Wednesday, May 13.

VALE SASKIA POST

Australian actress Saskia Post, whose vivid portrayal of doomed rock-star girlfriend ‘Anna’ in Richard Lowenstein’s Dogs in Space made her an icon to a generation of teenage moviegoers, passed away March 16 at Melbourne’s Alfred Hospital from complications stemming from a congenital heart condition. She was 59.

Born of Dutch heritage in 1961 in Martinez, California, Saskia Steenkamer immigrated with her family to Australia in 1975. Studying writing at Royal Melbourne Institute of Technology and acting at both University of New South Wales and The Drama Studio in Sydney, she soon became a popular and respected figure in the arts communities in both cities.

She made an immediate impact on audiences in her television debut, playing WWII Dutch refugee ‘Julianna Sleven’ in the popular series, The Sullivans (pictured, right; centre, with co-stars Norman Yemm and Vicki hammond), and would work steadily in the medium with semi-regular slots on primetime soaps Sons and Daughters and A Country Practice and the mini-series Return to Eden.

Following a small cameo in Haydn Keenan’s film Going Down (1982), Post made her credited debut in the nuclear-era drama One Night Stand for director John Duigan (Dimboola, 1979; Winter of Our Dreams, 1981). A four-hander about teenagers spending a night together in the Sydney Opera House as war erupts in Eastern Europe, Post shone opposite the equally impressive Tyler Coppin, Cassandra Delaney and Jay Hackett (pictured, below) in a film that beckons cult status.

Post followed One Night Stand with a support role in Ray Lawrence’s AFI Best Film honouree Bliss (1985), playing Barry Otto’s daughter in the critically-acclaimed adaptation of Peter Carey’s book. Other film work included Jocelyn Moorhouse’s Proof (1991), with Russell Crowe and Hugo Weaving, and Stavros Kazantzidis’ True Love & Chaos (1997), alongside Miranda Otto, Noah Taylor and Ben Mendehlson.

Post also became a sought-after stage performer, with a long career playing key roles in such productions as Hating Alison Ashley, Salome, Endgrain, Train to Transcience, Could I Have this Dance?, In Angel Gear, Figures in Glass, Skin and Vincent in Brixton.

But it will be Dogs in Space, Lowenstein’s chaotic recollections of Melbourne’s hard-edged inner-city 70’s music scene, for which Saskia Post will be forever remembered. As the wise-beyond-her-years Anna, she both towers over yet succumbs willingly to the enigmatic, self-destructive musician Sam (Michael Hutchence), in a performance that itself seems to dominate then ultimately submit to the tragic trajectory of the heroin-infused narrative.

Film writer Thomas Caldwell, in his 2011 analysis of the film’s enduring legacy, described Post as, “The heart of the film…[radiating] every time she is on screen with her combination of punk attitude and classical Hollywood beauty.” In 2016, theatre director Robert Chuter, who worked with Post on his 1990 stage production In Angel Gear, wrote a brief appreciation of their collaboration, recalling, “she was one of my favourite people/actors: beauty, dignity, curiosity, talent, kind, independence.” (Pictured, right; Post, left, with Lowenstein and Hutchence).

Although she surfaced briefly in 2017 for what would be her final onscreen appearance in Timothy Spanos’ underground oddity Throbbin’ 84, Saskia Post spent her final years in the small Victorian township of Trentham, where she practiced transpersonal art and therapy. Her impact upon both her community and her many fans was evident when nearly $15,000.00 was raised via a Chuffed crowdfunding campaign to help with her living and medical costs.