The Full Throttle Team > Dr. Jean-Pierre Voos
Dr. Jean-Pierre Voos
1932 - 2008
Dr. Jean-Pierre Voos
French by birth, English by education and Australian by choice. Worked mainly on the continent of Europe (Denmark, Poland, Holland, Belgium, Germany, France) before migrating to Australia in January 1986, becoming an Australian citizen in 1988.
Speciality:
Greek classics in ancient Greek notably,
Aeschylus' AGAMEMNON with KISS, 1976-80
Euripides MEDEA with Tropic Line,1986-88
Aeschylus AGAMEMNON with Helix 1992-93
Sophocles' OEDIPUS TYRRANUS, 1998
Sophocles' OEDIPUS THE KING 2007
1995- 2007 Produces 53 plays for Tropic Line and Tropic Sun including 20 New Australian works (of which 15 are from Queensland).
Voos directs 42 of these plays, notably NICHOLAS NICKLEBY in 1999 for the Queensland Biennial Festival in Townsville.
1994
Takes early retirement from James Cook University to devote himself full time to Tropic Line and the development of theatre in the North Queensland region.
1986 -1994
Senior Lecturer in Performing Arts at James Cook University. Instrumental in up-grading the Associate Diploma course to full degree Bachelor of Theatre, with Honours.
1988
His production of MEDEA in ancient Greek is invited by Tadashi Suzuki to represent Australia at the Toga International Festival in Japan.
1987
Founds the Regional Professional Theatre Company Tropic Line in Townsville.
1970 -1985
Founds the Theatre Ensemble KISS, based mainly in the Netherlands. Over the following 15 years tours Europe, U.S.A., and Australia (1980 & '82-83). In addition to directing the plays and research program of KISS, Voos teaches theatre in London, Germany, France and Switzerland.
French by birth, English by education and Australian by choice. Worked mainly on the continent of Europe (Denmark, Poland, Holland, Belgium, Germany, France) before migrating to Australia in January 1986, becoming an Australian citizen in 1988.
Speciality:
Greek classics in ancient Greek notably,
Aeschylus' AGAMEMNON with KISS, 1976-80
Euripides MEDEA with Tropic Line,1986-88
Aeschylus AGAMEMNON with Helix 1992-93
Sophocles' OEDIPUS TYRRANUS, 1998
Sophocles' OEDIPUS THE KING 2007
1995- 2007 Produces 53 plays for Tropic Line and Tropic Sun including 20 New Australian works (of which 15 are from Queensland).
Voos directs 42 of these plays, notably NICHOLAS NICKLEBY in 1999 for the Queensland Biennial Festival in Townsville.
1994
Takes early retirement from James Cook University to devote himself full time to Tropic Line and the development of theatre in the North Queensland region.
1986 -1994
Senior Lecturer in Performing Arts at James Cook University. Instrumental in up-grading the Associate Diploma course to full degree Bachelor of Theatre, with Honours.
1988
His production of MEDEA in ancient Greek is invited by Tadashi Suzuki to represent Australia at the Toga International Festival in Japan.
1987
Founds the Regional Professional Theatre Company Tropic Line in Townsville.
1970 -1985
Founds the Theatre Ensemble KISS, based mainly in the Netherlands. Over the following 15 years tours Europe, U.S.A., and Australia (1980 & '82-83). In addition to directing the plays and research program of KISS, Voos teaches theatre in London, Germany, France and Switzerland.
Statement from Tropic Sun Theatre Company
Thursday, 17 January 2008
Dr Jean-Pierre Voos, the Artistic Director of Tropic Sun Theatre, died today in the Townsville Hospital. He had been critically ill for two weeks. He was placed in an induced coma to give him the best possible chance of fighting and overcoming a lung infection. But the side effects of an arthritis treatment suppressed the immune system and the infection proved fatal.
The family and friends of Jean-Pierre have been at his bedside, and they and Tropic Sun have been deeply moved by the many expressions of affection and concern sent by individuals and organizations.
To honour the memory of this truly remarkable Artistic Director and benefactor of Townsville, the members of Tropic Sun Theatre intend to continue the work of the Company and, as he wished, will announce a season of plays in the near future.
Tropic Sun extends its deepest sympathies to the members of Jean-Pierre’s family, who have travelled from England and comforted him during his peaceful passing.
Prof Donat Gallagher - President
Lorna Hempstead - General Manager
Send Us Your Memories and Thoughts
Many people have phoned and written to us with their
memories and thoughts of Jean-Pierre. Some are listed below.
There are longer thoughts and messages towards the bottom of the page
including one from John du Feu outlining a little of Jean-Pierre's background.
Thursday, 17 January 2008
Dr Jean-Pierre Voos, the Artistic Director of Tropic Sun Theatre, died today in the Townsville Hospital. He had been critically ill for two weeks. He was placed in an induced coma to give him the best possible chance of fighting and overcoming a lung infection. But the side effects of an arthritis treatment suppressed the immune system and the infection proved fatal.
The family and friends of Jean-Pierre have been at his bedside, and they and Tropic Sun have been deeply moved by the many expressions of affection and concern sent by individuals and organizations.
To honour the memory of this truly remarkable Artistic Director and benefactor of Townsville, the members of Tropic Sun Theatre intend to continue the work of the Company and, as he wished, will announce a season of plays in the near future.
Tropic Sun extends its deepest sympathies to the members of Jean-Pierre’s family, who have travelled from England and comforted him during his peaceful passing.
Prof Donat Gallagher - President
Lorna Hempstead - General Manager
Send Us Your Memories and Thoughts
Many people have phoned and written to us with their
memories and thoughts of Jean-Pierre. Some are listed below.
There are longer thoughts and messages towards the bottom of the page
including one from John du Feu outlining a little of Jean-Pierre's background.
Homage to Jean-Pierre Voos
by Jepke Goudsmit,
artistic co-director,
KINETIC ENERGY THEATRE COMPANY, Sydney.
When I met Jean-Pierre for the first time, I was struck immediately by his clear blue penetrating eyes and his mischievous smile. Here was a man of great contrasts, I thought. And was intrigued.
That was in Amsterdam, 1975. KISS had secured funding and residence as International Theatre Research Group in the Netherlands and was looking for actors. I had just returned from a year at Grotowskiís Theatre Laboratory in Poland. Joining Jean-Pierre and his troupe was meant to be. Soon enough I was taken in by his quicksilver mind, his enormous erudition, and his magnetic vision. Before long I realised this was indeed a man whose mind could soar, whose creativity came to him as natural as breathing, and whose perseverance was formidable. A giant in a small frame!
I cannot think of an area of human interaction or endeavour where, once touched by Jean-Pierre, a creative process would not be set into motion. Truly, he was a creative catalyst. Whatever he turned his mind to, became imbued with his creative spirit. I often wondered what J-P could not do or had no knowledge of. Footy, I suppose.
Working with Jean-Pierre and being part of the KISS adventure for eight full years, was a period in my life of intense depth and enrichment, of immense and immeasurable importance. J-P became my foremost mentor. He nurtured my talent, gave me line and scope, entrusted me with responsibilities when I was ready for them (and when I was not yet ready for them at all, but hey, thatís part of the learning curve!), and encouraged me to probe and venture into unknown regions, just like he did. What he taught me became part of me and still continues to grow. The origin and seed of much of my own work, with my co-director and partner Graham Jones in our theatre company in Sydney, I can trace back to those years.
Jean-Pierre was also was my friend. The long talks, the many travels and excursions, the reflections, the sharing of insights, stories, books, meals, jokes and many other delights. In those days, he wore his heart on his sleeve and was not what you call an ìeasyî man to work or be with. But I wasnít really interested in ìeasyî, much rather in ìtrueî, or ìchallengingî. And challenging he was, both as director and friend. His moods and emotions could reach extreme heights and unfathomable lows, and spanned the whole gamut in between. Whatever affected him, affected all. (I believe he mellowed over the years!). His own level of discipline and devotion was very high, and he expected a depth of commitment and dedication that was often above peopleís will or capacity. Many instances of friction and pain resulted from this. Sometimes people needed to get away, untangle themselves from this all-consuming engagement, to find their own space again, and know their own path. There was a time we nicknamed him Svengali. I guess that for those of us who were in for the long haul, the highs and lows were turmoils which passed and left us with greater clarity and friendship, and deepened our connectedness.
Working with J-P, being in KISS, meant living your art. I do think that for most creative people that is a matter of course. But to practice effectively, and collectively, a haven is needed, a structure. J-P had the extraordinary ability to create structures that enabled people to embark upon their creative journey. He was an architect. And he was a master of metamorphosis. He sought - and succeeded - to create what he called ìhaunting imageryî, the stuff that engraves itself onto your memory and is of the kind of mysterious depth and beauty that keeps revisiting you. In his struggle to make his theatre work survive, he metamorphosised it from one stage to the next. In KISS, SILK, and later TROPIC LINE, TROPIC SUN - the architect understood morphing. With or without enough means available, or personnel or space or time or recognition, somehow J-P managed to find a way to do what he did best: connect with the heart of whichever cultural community he lived in and make theatre magic.
Before he became a theatre practitioner, J-P was a G-P. He never really betrayed his oath to Aesculapius, because the type of theatre he endeavoured to make was steeped in the principles of healing. I am thinking of his fascination with ancient Greek theatre, and the great stories of initiation and individuation that civilisation has produced since ancient times. The theatre of katharsis. The arena of science, mystery and intuition, where the human condition is dissected, analysed, and given artistic breath and form. I think of his masterpiece productions of the KISSíORESTEIA, and of KISSíSALOME, and of his contemporary interpretations of the Perceval saga, BON-BEAU-CHER, and of Danteís Divine Comedy, The 24 Hour KISS KOMEDY, and of his dramatisation of David Jonesí epic poem ANATHEMATA. All who were part of these projects knew that they were contributing to an artistic quest held together by the vision of this true magician of the theatre. Whatever bore his signature was sure to have been guided by the wisdom of the muses, and bound to illuminate our human dimensions.
Many of us, who make up the KISS vintage, are back in our country of origin or have scattered around the world, and have become creative initiators there ourselves. And, as you can read from our responses to Jean-Pierreís passing, on the TROPIC SUN website, we have been inspired by him for life.
He was a quintessential creative spirit. Whatever he touched, whatever he turned his attention to, he became the trigger for something to grow, for something hidden to be brought out, something asleep to be awakened, something old to be placed in a new context and become fresh or be transformed.
Until the very end, he nurtured new talent, conducted, directed, designed, imagined, while expanding the cultural depth of the community around him, - and, as I heard, while in his garden young trees flourished, and in his bathroom a fine homebrew wine awaited visitors. No wonder he got that proud medal on Australia Day!
His death feels to me like the ending of an era. That great and imaginative impulse of the sixties and seventies, that sense of celebration of life, experimentation and re-articulation, the discovery of ìhomo ludensî as integral part of ìhomo sapiensî, the crossing over of borders and boundaries, the reaching across cultures, the redefinition of the brother & sisterhood of man - Jean-Pierre was an exponent of that spirit, embodied it, and was its custodian. To all who wanted it, he passed on its flame.
When he settled in Townsville, he brought that quality, and his broad experience and expertise, to his new community. Since that time, some 20 odd years ago, my contact with Jean-Pierre has been erratic. But I never lost a sense of connectedness with him. We corresponded irregularly, I once visited and conducted some workshops for him, and sometimes he would appear in my dreams. No nightmares, no, usually quite lucid, tranquil dreams. The last time that I saw him in that realm, it was a happy and uplifting vision. There was laughter and music and song and dance. His eyes were of the same blue clarity. His smile was still mischievous. But his hair had become golden. That dream was about three weeks ago, just before he succumbed to his illness. It made me think: this alchemist has turned what is dark and heavy into light, transmuted lead into gold. He is at peace and ready to depart for his next great journey.
Am I nostalgic? Am I idolising the man? I hope not. For I merely want to voice my deep gratitude and love to him, and to acknowledge his legacy.
Thank you, magician, architect, catalyst, alchemist.
Thank you, dear friend. Thank you, Jean-Pierre.
Farewell and Bon Voyage!
by Jepke Goudsmit,
artistic co-director,
KINETIC ENERGY THEATRE COMPANY, Sydney.
When I met Jean-Pierre for the first time, I was struck immediately by his clear blue penetrating eyes and his mischievous smile. Here was a man of great contrasts, I thought. And was intrigued.
That was in Amsterdam, 1975. KISS had secured funding and residence as International Theatre Research Group in the Netherlands and was looking for actors. I had just returned from a year at Grotowskiís Theatre Laboratory in Poland. Joining Jean-Pierre and his troupe was meant to be. Soon enough I was taken in by his quicksilver mind, his enormous erudition, and his magnetic vision. Before long I realised this was indeed a man whose mind could soar, whose creativity came to him as natural as breathing, and whose perseverance was formidable. A giant in a small frame!
I cannot think of an area of human interaction or endeavour where, once touched by Jean-Pierre, a creative process would not be set into motion. Truly, he was a creative catalyst. Whatever he turned his mind to, became imbued with his creative spirit. I often wondered what J-P could not do or had no knowledge of. Footy, I suppose.
Working with Jean-Pierre and being part of the KISS adventure for eight full years, was a period in my life of intense depth and enrichment, of immense and immeasurable importance. J-P became my foremost mentor. He nurtured my talent, gave me line and scope, entrusted me with responsibilities when I was ready for them (and when I was not yet ready for them at all, but hey, thatís part of the learning curve!), and encouraged me to probe and venture into unknown regions, just like he did. What he taught me became part of me and still continues to grow. The origin and seed of much of my own work, with my co-director and partner Graham Jones in our theatre company in Sydney, I can trace back to those years.
Jean-Pierre was also was my friend. The long talks, the many travels and excursions, the reflections, the sharing of insights, stories, books, meals, jokes and many other delights. In those days, he wore his heart on his sleeve and was not what you call an ìeasyî man to work or be with. But I wasnít really interested in ìeasyî, much rather in ìtrueî, or ìchallengingî. And challenging he was, both as director and friend. His moods and emotions could reach extreme heights and unfathomable lows, and spanned the whole gamut in between. Whatever affected him, affected all. (I believe he mellowed over the years!). His own level of discipline and devotion was very high, and he expected a depth of commitment and dedication that was often above peopleís will or capacity. Many instances of friction and pain resulted from this. Sometimes people needed to get away, untangle themselves from this all-consuming engagement, to find their own space again, and know their own path. There was a time we nicknamed him Svengali. I guess that for those of us who were in for the long haul, the highs and lows were turmoils which passed and left us with greater clarity and friendship, and deepened our connectedness.
Working with J-P, being in KISS, meant living your art. I do think that for most creative people that is a matter of course. But to practice effectively, and collectively, a haven is needed, a structure. J-P had the extraordinary ability to create structures that enabled people to embark upon their creative journey. He was an architect. And he was a master of metamorphosis. He sought - and succeeded - to create what he called ìhaunting imageryî, the stuff that engraves itself onto your memory and is of the kind of mysterious depth and beauty that keeps revisiting you. In his struggle to make his theatre work survive, he metamorphosised it from one stage to the next. In KISS, SILK, and later TROPIC LINE, TROPIC SUN - the architect understood morphing. With or without enough means available, or personnel or space or time or recognition, somehow J-P managed to find a way to do what he did best: connect with the heart of whichever cultural community he lived in and make theatre magic.
Before he became a theatre practitioner, J-P was a G-P. He never really betrayed his oath to Aesculapius, because the type of theatre he endeavoured to make was steeped in the principles of healing. I am thinking of his fascination with ancient Greek theatre, and the great stories of initiation and individuation that civilisation has produced since ancient times. The theatre of katharsis. The arena of science, mystery and intuition, where the human condition is dissected, analysed, and given artistic breath and form. I think of his masterpiece productions of the KISSíORESTEIA, and of KISSíSALOME, and of his contemporary interpretations of the Perceval saga, BON-BEAU-CHER, and of Danteís Divine Comedy, The 24 Hour KISS KOMEDY, and of his dramatisation of David Jonesí epic poem ANATHEMATA. All who were part of these projects knew that they were contributing to an artistic quest held together by the vision of this true magician of the theatre. Whatever bore his signature was sure to have been guided by the wisdom of the muses, and bound to illuminate our human dimensions.
Many of us, who make up the KISS vintage, are back in our country of origin or have scattered around the world, and have become creative initiators there ourselves. And, as you can read from our responses to Jean-Pierreís passing, on the TROPIC SUN website, we have been inspired by him for life.
He was a quintessential creative spirit. Whatever he touched, whatever he turned his attention to, he became the trigger for something to grow, for something hidden to be brought out, something asleep to be awakened, something old to be placed in a new context and become fresh or be transformed.
Until the very end, he nurtured new talent, conducted, directed, designed, imagined, while expanding the cultural depth of the community around him, - and, as I heard, while in his garden young trees flourished, and in his bathroom a fine homebrew wine awaited visitors. No wonder he got that proud medal on Australia Day!
His death feels to me like the ending of an era. That great and imaginative impulse of the sixties and seventies, that sense of celebration of life, experimentation and re-articulation, the discovery of ìhomo ludensî as integral part of ìhomo sapiensî, the crossing over of borders and boundaries, the reaching across cultures, the redefinition of the brother & sisterhood of man - Jean-Pierre was an exponent of that spirit, embodied it, and was its custodian. To all who wanted it, he passed on its flame.
When he settled in Townsville, he brought that quality, and his broad experience and expertise, to his new community. Since that time, some 20 odd years ago, my contact with Jean-Pierre has been erratic. But I never lost a sense of connectedness with him. We corresponded irregularly, I once visited and conducted some workshops for him, and sometimes he would appear in my dreams. No nightmares, no, usually quite lucid, tranquil dreams. The last time that I saw him in that realm, it was a happy and uplifting vision. There was laughter and music and song and dance. His eyes were of the same blue clarity. His smile was still mischievous. But his hair had become golden. That dream was about three weeks ago, just before he succumbed to his illness. It made me think: this alchemist has turned what is dark and heavy into light, transmuted lead into gold. He is at peace and ready to depart for his next great journey.
Am I nostalgic? Am I idolising the man? I hope not. For I merely want to voice my deep gratitude and love to him, and to acknowledge his legacy.
Thank you, magician, architect, catalyst, alchemist.
Thank you, dear friend. Thank you, Jean-Pierre.
Farewell and Bon Voyage!
"Our family had a little cry this morning on hearing the news of the death of Jean–Pierre, how valuable he was to Townsville, both my kids have acted with him and I thought he was just a wonderful wonderful man. He took lovely photos too, a true artists and I wonder if Townsville realised what a gift he has been.
Chrissy Maguire, Finn and Ebony Buckle
"J-P leaves an enormous legacy; he has been a driving force to bring theatre, not only to the people of North Queensland but also previously to many people around the world.
He has spent a lifetime doing what he loved; he understood the ongoing struggle to transform dreams into reality and with that bring an enormous amount of joy to so many people who craved to be moved and entertained. Life is but a stage and J-P was definitely a huge player in the drama of file.
I am sure that with your help and that of other supporters you will continue to find ways to allow J-P’s legacy and his dream to live on."
Henry Laska
Chrissy Maguire, Finn and Ebony Buckle
He has spent a lifetime doing what he loved; he understood the ongoing struggle to transform dreams into reality and with that bring an enormous amount of joy to so many people who craved to be moved and entertained. Life is but a stage and J-P was definitely a huge player in the drama of file.
I am sure that with your help and that of other supporters you will continue to find ways to allow J-P’s legacy and his dream to live on."
Henry Laska
I honor you all for carrying on his work by announcing another season."
Andrea Moor
He could be stubborn, irritating, but his love and commitment to his chosen artform was never in question and he will remain an inspiration to all of us who strive to do great work in this tough industry."
Sue Rider
Joe & Christine Pulvirenti
"It has been a harrowing few hours since hearing of J-P's death. His loss to all of us is immense and I am filled with sweet sorrow as I remember .. and there is so very much to remember.
He waved his arms through the air and created masterpieces, painting theatrical poetry with bodies and sounds. An artist extraordinaire.
It was an honour and a great privilege to have worked with him during the latter years of KISS as well as with TropicLine. I would have given anything to have worked with him in TropicSun. It was not to be.
We have been robbed of a most marvellous director and a man of theatrical vision and courage. For me most of all, I grieve the all too early passing of a deeply loved friend."
Meme Thorne
His talents still resonate within my own perfomance company's work and the 5 years I worked with him in KISS, in Holland, Belgium and Australia will always be with me."
Jim Ennis
Being left to do a show on our own in Deventer, because he was convinced the publicity had been bad; he wasn’t going to be part of performing to an empty auditorium - we stayed, performed to a full house and next day all went on happily as before with no mention of the box office windfall.
Learning about the allotment system, written about by John de Feu in an earlier KISS, while we picked the berries for elderberry wine.
Being the only one allowed to drive the car because he always fell asleep as soon as it took off and didn’t trust anyone else at the wheel.
The relentless line: “What’s in it for the audience?”
His perpetual daring leaps into survival; counting 1-2-3-4-5-6-7-8 to Messien in a complex pattern of steps for 6 hours.
Being told to go back to Australia, having spent our resources and burnt our bridges to get to Holland; carrying on next day; those sharp eyes; many a drink at the pub; his pea and ham soup.
Like so many of us, I learnt to work, with him."
Clare Grant
Here was someone I wanted to study with and the next year I arrived in Townsville. Part father figure, authoritarian bully, gentle soul who nutured many talents.
I am sorry I can't attend his memorial in Townsville but some of us in Brisbane will be celebrating his life and our luck in studying with him in Brisbane. Thank you JP."
Andrew Moffat
"I remember with fondness many of our conversations about music, in particular Beethoven's piano sonatas and the use of music and improvisation in the theatre.
I was pleased recently to be able to introduce him to Harry Partch's work as we shared an interest in the work of maverick composers of the first half of the last century - Wolpe, Messiaen - some will remember his wonderful interpretation of Kurt Schwitters Ur Sonata.
I remember great productions - Shakespeare in the quarry, Beckett in the basement, Thomas in the hospital and Wilde at the top of the hill spring to mind.
Thanks JP, I won't find you in the office anymore on a Sunday afternoon. Your work here is done, but your legacy will live on. Rest well."
Michael Whiticker
I was pleased recently to be able to introduce him to Harry Partch's work as we shared an interest in the work of maverick composers of the first half of the last century - Wolpe, Messiaen - some will remember his wonderful interpretation of Kurt Schwitters Ur Sonata.
I remember great productions - Shakespeare in the quarry, Beckett in the basement, Thomas in the hospital and Wilde at the top of the hill spring to mind.
Thanks JP, I won't find you in the office anymore on a Sunday afternoon. Your work here is done, but your legacy will live on. Rest well."
Michael Whiticker
"I am so terribly saddened to hear about our wonderful friend Jean-Pierre. He has been so much a part of our lives in such a magnificent way for so long. It seems impossible to believe he won't be with us any more. My heart goes out to his family and all of you at Tropic Sun."
Lindy Nelson-Carr
(Member for Mundingburra and Minister in the Queensland Parliament)
Lindy Nelson-Carr
(Member for Mundingburra and Minister in the Queensland Parliament)
"Everyone at JUTE is saddened by his passing and we know that he will be sorely missed by the arts community of Townsville and our Theatre to the Edge group."
Suellen Maunder & all at JUTE
Suellen Maunder & all at JUTE
Maree
Val Noble
Mairi Baxter and Janice Braddick
Bob Clayton
Rachel Matthews
Joanne Douglas
Cate Farrar
Val Murtagh
Peter and Jenny Finn
"His passing is a great loss to Townsville, and he will be a hard act for you and your colleagues to follow. I realised just how talented he was when I saw "Charly and Algernon". It was brilliant."
Terry Stanton
He had a unique aesthetic and many admirers in European theatre. He was sometimes a hard task-master and pushed you to the limits of your psychological and physical capabilities...but always in the name of theatre.
Resilience from this has helped me survive in "show-biz" since then. J-P also ran the Institute of Contemporary Arts in London and had meetings/brushes with the Beatles and a young mime artist - before he became David Bowie. ."
Campbell Graham
"I remember Jean-Pierre for his deep felt conversations of great theatre practitoners and playwrights whom we both admired.
That was the connection I made with Jean-Pierre when first arriving at JCU and it sustained us till now.
This very private man was firmly located in a dialogue begun by Antonin Artaud several decades ago and was in the truest sense an artist of the theatre."
Michael Beresford
"Jean-Pierre whom I had the privilege to meet whilst helping out at the Old Magistrates and with whom I shared some humorous and cherished moments was for me like Mrs Henderson Presents the Bob Hoskins Judi Dench of the Theatre the days of yesteryear when theatre held magic and so much joy.
Jean-Pierre carried this into his theatrical life in Townsville and we as members of Sun Tropic will not let him down as we will grow and with this so will memories of JP.
Before your time JP but then maybe the good Lord needed experience in His Theatre bless you JP never forgotten."
Pat Henderson
"In Europe the drums are sounding, and so probably also in the States and Canada. He Has parted from this earth, and suddenly all fell silent!
And in this silence a flood of memories start rising to the surface. And realisations of how much Jean-Pierre, each of us influenced our lives and careers up till this day.
I was a member of Kiss and Jean-Pierre was my first professional director. Much has happend to me because of him and if everyone, he has encounters in Australia, in 25 years time still can feel his influence professionally, like I can, one can speak of a great man.
I wonder, if you all, also have an intense change of life, like I had, now he has part out of yours. I wish all his friends and family lots of strength. And am happy to read that he was so loved."
Lorette van Heteren
""I don't direct you Dave Letch, I oblige!!" Just one of the rip snorter rows we had over the years.
But he'll always be the passionate, cranky, cackle laughing "JP" to me. Theatre's loss, but next time Tropic Sun do theatre under the stars......."
Dave Letch
"I was very sad and also shocked to hear of JP's passing.. A gentle kind talented man .. who made me laugh .. and also gave me several opportunities to work with him and the Tropic Sun Team.
Thoughts and blessings to you all in this time of grief. JP I will miss you, your whites and not seeing you at the theatre. "
Vicki Rose
"I am so saddened to hear of the passing of our friend and Artistic Director, founder of Tropic Sun, Jean-Pierre. As we all know, Jean-Pierre was an accomplished and well known actor, teacher and theatre company director before the visits to Australia which resulted in him coming here to stay with us. He has been responsible for the blossoming of the theatre in Townsville and the training and retention of actors in our city.
His cutting-edge style and the high standards he set for direction and performance were hallmarks, as were his warmth and modesty about his achievements. I'm sure, he will be remembered by his legacy of talented actors, playwrites and theatre people throughout Australia as the source of their inspiration and style. "
Carden Wallace
His cutting-edge style and the high standards he set for direction and performance were hallmarks, as were his warmth and modesty about his achievements. I'm sure, he will be remembered by his legacy of talented actors, playwrites and theatre people throughout Australia as the source of their inspiration and style. "
Carden Wallace
"Eight years ago I arrived at Townsville airport to be met by an exotic gentleman who seemed like he belonged in another world - I immediately liked him - his passion for live performance was almost as overwhelming as the Townsville heat - he taught me that all is possible in the theatre - I will never forget my brief sojourn with Jean-Pierre."
Donna Cameron.
"His passing is a sad loss to Townsville's arts community, the amount of energy and committment and enthusiasm he has had over the years is quite astonishing and will be very sorely missed. It is good that the group will continue as long as possible, to honour his work and, indeed, his life."
Sue
"My thoughts and sympathy are with you all. He will be greatly missed."
Rebekah Butler
"It is with great sorrow that I received the news of Jean Pierre's death. He was very dear and of immense importance to me.
A true magician of the theatre.
A conjuror of many dimensions.
A creative catalyst.
Speaking as his friend and colleague from the time of KISS, I am sure the news will plunge us all into a river of memories.
I feel a great and subtle silence as memories keep flooding in."
Jepke Goudsmit
"It was with sadness I opened my email to read of Jean-Pierre's passing. Over the years The Sunday Mail has covered many of his shows. I remember these with fondness and continue to look forward to future productions by the Tropic Sun team."
Danielle Jesser
"I was a member of the KISS Company in Holland from the Denmark days in 1974 till Rotterdam 1979. It was with Jean Pierre that I started my working career as an actor and director. He was my first director and teacher.
His sense of adventure brought us to the most important theatre-festivals in Europe. He also gave me the experience of rehearsing in a convent in Ireland.
He was inspired by Grotowski and the Living Theatre. I had the honour to perform in Salome and the Oresteia, both great works of an outstanding artist.
He has inspired me for the rest of my life and I find it very hard that I cannot tell him in person how much he meant for me. For six years I was his actor, later on I composed music for his ever continuing KISS-company.
He found peace in Townsville and although (apart from Jepke and John Du Feu) I do not know any of the theatre people he worked with in Australia I am grateful for the home Townsville was for him."
Matthijs Rümke
"Jean-Pierre's passion, tenacity, vision and drive lives on within us all.
The lights have gone down on a very special act that will push on and drive the next."
Justin Palazzo-Orr
"Justin txt'd me with the sad news of JP going... I just wanted to send you all my best wishes and hope that you all make 2008 an amazing year in his memory."
Liam Grigg
"I haven't been in touch with Jean Pierre for many years. I was saddened to hear of the news of his passing. It has brought back many memories.
I was part of his International "Kiss" company in the Netherlands, not long before he decided to settle in Australia. His vision and discipline ensured that as Actors we were always 'in training' honing our skills, preparing the creative space within.
Being a member of the Company introduced me to much that I still value in my life. His unique way of organising the work of the company, putting an onus of creativity on the actor, stretched and developed my own abilities immeasurably in the year I worked with him.
For that and the enduring friendships I made through the company, I thank him. I would like to send my best thoughts and condolences to those he was closest to."
Kate Kelly
"Since JP's passing the floodgates of memories have opened and the realization of the significance of having JP in my life.
I was young and naive when at ADPA but JP didn't stop believing in my creativity and was a huge support both personally emotionally and creatively. When I was experiencing difficulties at home, Jean-Pierre would take me for a drive to talk, buy me sweets or have me over for dinner, I felt loved and cared for, sincerely. He made me feel nourished and gave me the freedom to explore so many possibilities within the framework of theatre.
I chose comedy and he backed me all the way. I will miss him,but so many wonderful, outrageous, eccentric crazy moments stay in my mind and my admiration and love remain.
Thankyou for giving my formative years such a solid and magnificent springboard. I love you Jean-Pierre."
Bev Killick
"TROPIC SUN THEATRE MOURNS ITS FOUNDER"
When theatre director, Jean-Pierre Voos, died in Townsville on 17th January, few in that regional North Queensland city could have predicted the outpouring of memories, gratitude and sadness that would flow there from all over the world. Jean-Pierre, who died at the age of seventy-five, had spent the last twenty-two years of his life there but his focus on the future was such that few knew of the richness of his past. It was only at his funeral and the subsequent celebration of his life, held on Monday 28th January at the Townsvile Civic Theatre, that the stories could begin to be told.
Jean-Pierre was born in Paris in December 1932 and evacuated to Wales at the outbreak of the second world war. He was educated at Bradfield College, a typical English public school, where the French language he had grown up with and the Welsh he had learnt were beaten out of him by English schoolboys whose tolerence of difference left much to be desired. Jean-Pierre soon learnt to speak English more correctly than any of them.
After school he went to Oxford where, at his father's insistence, he studied medicine. He finished his education at the acclaimed Guys Hospital where, amongst other activities, he assisted in the delivery of twenty-seven babies. He became a Fellow of the Royal College of Physicians and specialised in Psychiatry but astonishingly he never practised medicine at all. By that time he had become inextricably seduced by the theatre.
Jean-Pierre's first job in the theatre was at Pitlochery Festival Theatre in Scotland where one of his fondest memories was of meeting the Queen Mother. Later, he spent two years as artistic director of the Byre Theatre in St Andrews, notoriously one of the most difficult venues in the UK because of its diminutive size and the fact that one could only enter the stage via a ladder. There Jean-Pierre began to design sets, a skill which was later celebrated with an exhibition of his designs at a theatre in the West End of London. He also presented a sell-out exhibition of paintings at the Parkway Gallery in Bond St., demonstrating the strong visual sense that was to be a hallmark of his later theatre productions.
Directing jobs followed in repertory companies around the UK as well as a stint as a television director with the BBC and as a language coach on a film in Spain. However, Jean-Pierre was ambitious and sought ever-more interesting outlets for his growing creative skills. After a period as founding administrator with the Hampstead Theatre Club, directed by James Roose Evans, Jean-Pierre began his own International Theatre Club at the Mercury Theatre in Notting Hill, London - a venue that he shared with the famous Ballet Rambert.
An extraordinary period followed in which Jean-Pierre came to be regarded as one of the foremost avant-garde directors in London for his fine interpretations of non UK-written plays. Jean-Pierre introduced many European and US playwrights to English audiences as well as hosting such theatre luminaries as the Polish director, Jerzy Grotowski, the La Mama Repertory Company of New York under the direction of Tom O'Horgan (later famous as the inaugural director of the musical 'Hair') and Jerome Savary's Grande Magique Circus of France.
Around 1970, Jean-Pierre began to realise that his practice was being hampered by responsibilities of public funding and maintenance of the venue in which his work was based. He began to train actors with a view to starting his own theatre group - independent of 'bricks and mortar' and able to wander at will, making theatre wherever and however feasible. When actors proved inconsistent, surrounded by the distractions of London, Jean-Pierre decided to leave the UK and return to his roots. The theatre company KISS was finally created in a small stone cottage on a plateau deep in the Lot et Garonne region of South-Western France.
The memories of the time spent at 'Jean Blanc' were among the happiest of Jean-Pierre's life or, in any case, those that he most liked to recall. It was there that his relationship was cemented with his partner, Eva Sigsgaard, Danish actress who had trained with both Grotowski and with the Italian director, Eugenio Barba, based in Denmark. Eventually Eva became the mother of Jean-Pierre's only daughter, Cassandra. The feelings between Jean-Pierre and Eva remained, although they lived apart for many years, and both Eva and Cassandra came from England to Townsville to be with him in his last illness.
KISS performed in many countries and was resident in several. It used actors from many different cultures and produced work in various languages. In many respects KISS foreshadowed the tendency to create theatre across national boundaries that is now so strongly supported by the EU. In those days, this kind of work was little understood and the group often had to produce its ground-breaking work in extremely difficult circumstances. The greatest support was given to the group by the Dutch government and indeed KISS, in its latter days, became known as a Dutch company.
Many young actors worked and trained with the highly disciplined KISS group. Jean-Pierre was a man with a demanding style to his work and many actors fell by the wayside, unable or unwilling to provide the level of commitment on which he insisted. Those who stayed were changed. They learnt about culture, about quality in the theatre, about truth and honesty in acting and about the beauty of ideas. Often they found themselves producing work at a level of energy and professionalism they could not have dreamed of - and growing as a result. It was this extraordinary commitment to the development of actors that was to be Jean-Pierre's greatest legacy and the reason for which he will be most strongly remembered by so many.
KISS performed in France, Poland, Holland, Denmark, Belgium, Switzerland, Germany as well as in the US - and in 1980 and 1982 in Australia. Shows best remembered include KISS'Oresteia; KISS'Salome; KISS Anathema; the remarkable 24 hour version of Dante's Divine Comedy; the Perceval legend adaptation Bon-Beau-Cher; but there were many others.
In 1985, Jean-Pierre was offered the job of Principal Lecturer of the theatre course at James Cook University in Townsville. KISS had visited this enterprising city on both of its Australian tours and Jean-Pierre's productions had made an indelible impression on the theatre community. As the theatre course, re-written by Jean-Pierre into a full three-year degree course, began to produce graduates, Jean-Pierre began to be concerned about the fact that so many of the best talents were, in the end, lost either to Townsville or else to the theatre profession altogether. As a result of this concern, he created a regional theatre company which was first called 'Capricorn Line' but later changed to Tropic Line. In 2002, the company merged with the university's own company and the name was changed again to its present Tropic Sun.
In Townsville, as in the rest of the world, Jean-Pierre dedicated himself to developing the talents and skills of actors and producing good theatre. At his memorial, 300 people came to celebrate his life and the contribution he had made to the life of this community. Speakers included the Mayors of both Townsville and its twin city, Thuringowa. Many of the actors expressed their gratitude for the experiences and teaching he gave them and at the end the actors led the whole audience in a gentle rendition of the French song 'Frere Jacques' which Jean-Pierre had used in his self-devised Randomania show. It was a warmly affectionate farewell for a great theatre artist and teacher.
John du Feu
Jean Pierre Voos
Memories during his London ITC period
(Or ‘why I met my wife’)
1965 – 1968
Jean Pierre had founded the International Theatre Company to present the best modern plays from overseas living authors, to be performed in English. After 18 months in different halls, festivals and Drama college theatres, somehow towards the end of 1966, he persuaded the Rambert Ballet School to give over their ancient large teaching Hall with full length mirrors as the ITC home each evening, once the students in their leotards had left. The ITC at The Mercury Theatre had begun. Stage one of an ambitious plan that might one day lead on to a Poetry school, Members’ Bar and Arts discussion forum.
Some times the company outnumbered the audience and sometimes we didn’t (quite), but we carried on regardless. We had an artistic vision and under Jean Pierre’s magnetism, we were determined to achieve it. And through his energy, determination, drive and sheer cussedness – Jean Pierre never courted popularity – the ITC at the Mercury Theatre established a reputation for something new and important. Critics and self selected theatre leaders of the day began to recognise his work as an innovative part of the culture scene – albeit Notting Hill Gate was then a fair way out of their comfort zone.
Jean Pierre as always was a trend setter paying little heed to current conventions. The ITC at The Mercury Theatre was long before the current vogue for fringe theatres above pubs and in hidden halls making a feature of being outside Theatre Land. It was before Notting Hill Gate became the fashionable area of politicians and artists. But he and Deanna, his wife, formed a team of like minded but diverse personalities and together sailed into the wind of the then current theatre programme tastes.
As D.A.Jones the then well know theatre critic, wrote in the Sunday Telegraph magazine in May 1969 (ironically after Jean Pierre had moved on):
“What I have liked best, in this old-established avant garde Auden-and-Isherwood environment, has been the chance to see plays by famous continental Europeans who are ‘avant garde’ only in the sense that West End management’s haven’t heard of them. Very distinguished professionals like Robert Eddison of the Royal Shakespeare company. Voos maintains contact with the world outside, introducing avant gardistes of the total theatre from Europe and off-off Broadway as well as those interesting foreign equivalents of Christopher Fry.”
The full page photograph of Jean Pierre with his troop of the moment, was suitably sixties with our hero in heavy woollen polo neck and casual soft leather jacket – and of course his sideburns and zapata moustache When I first met Deanna and then Jean Pierre, I had just come down from University and was working during the day in my first job. I had been a leading light at the Oxford University Dramatic Society and wanted to keep some connection with the theatre. My first ITC production, shortly before the move to the Mercury Theatre, Never Say Die by Armaud Salacrou, starred amongst others, Richard Goolden, the renowned actor who created the definitive role of Ratty in the ever popular children’s musical based on Wind in the Willows. The Mercury was not far from where I was living at the time and so I was quickly swept up in the Jean Pierre passion where everything was possible however many challenges appeared to make it otherwise.
As Front of House manager, I hurried back from my work near Covent Garden to change into dinner jacket, set out the chairs, open the bar and prepare the tickets for sale. The hardest bit was to assess the number of chairs that should be unstacked so that the House would look as if we were expecting a reasonable audience number, all the time knowing that we had to restack all of them after the performance. One sign of less than a positive estimate and Jean Pierre was there to add to the rows and urge us on.
To launch our 1967 season at The Mercury, Jean Pierre invited a visiting company to present The Insiders by Stuart Gilman one of the few Canadian authors of the time. The Canadian cast were fairly arrogant, expecting what I guess Jean Pierre had promised them, a professional experienced team of back stage support. In fact, this back up resource consisted only of him, Deanna and I. as at the time the other members of this varied team of Jean Pierre followers had temporarily disappeared.
In short, the lighting plot done and the technical run through completed, the visiting company’s technical crew said farewell and left. It became apparent there were no technical staff to actually run the show. It was now Friday and the Show opened on Monday. Deanna and I were committed to front of house audience and bar duties, Jean Pierre directing. And that left ….no one.
But inspired with the Jean Pierre vision – albeit by then a touch desperate vision - I set off to enjoy the various parties I had been invited to that weekend – but with a mission. I had promised Jean Pierre I would recruit a backstage team So, while socialising and drinking. I was furtively eyeing up likely candidates. At the 2nd party I struck lucky and found among the guests an innocent victim. It helped perhaps that I had met and quite fancied her once before. She fell for the story and promised to stand in for at least a period to ‘save the show’, provided of course that there was someone there who knew what they were doing. Which of course I assured her there was - but which of course at that time there wasn’t !
At a later party that weekend, I found a University friend who did know a little about electric’s – more about carpentry – and he promised to help, provided he had an assistant he could quickly train up and then leave that person to do the rest of the shows. Which of course I assured him I had.
Despite protestations and regrets the next day, they were both persuaded to honour their (slightly drunken) promises and Jean Pierre had his backstage team. To their horror, however, they quickly found out that both had to an extent been duped. The backstage was in chaos and the first shows had to be worked while standing on the mounds of cable where the original get-in technicians had dumped everything before they walked out.
The Show ran for 3 weeks and an average audience of over 50 people per performance. By the time the new crew of backstage innocents had sorted out the mess and run the show, Jean Pierre had persuaded them of the greater purpose of their lives and his vision to introduce the London theatre audience to a world-wide vision of theatrical creativity. They both stayed with the ITC for nigh on 18 months and I eventually persuaded her to marry me. Notwithstanding their efforts, that particular show seemed to me to have little particular merit. But what followed was living proof of Jean Pierre’s effect on the cultural landscape.
Stamp (on the US Military) was by Ed Berman or Ed B as he preferred to be known, a forceful US citizen who at the time was fighting the Vietnam War draft. As a means of publicising his views and the play, a number of realistic looking US dollars were printed, questioning the value of the dollar against the ‘murder and slaughter in Vietnam’. Unfortunately the US Fed was not amused. The printers were raided and all material confiscated by the Police. The Times gave considerable space to the trial and reported the wording on the dollar bills, which concluded ‘See Ed B’s premier of Stamp on the United States military. Mercury Theatre Notting Hill Gate’. After an unfortunate last minute postponement of the opening night, Freeze and Stamp, (starring a young Bill Nagy) Ed B’s double bill ran for a week to an average audience again of over 50 each night.
He stayed to help Jean Pierre in their shared commitment to new works, until unfortunately they fell out, acrimoniously, as perhaps was inevitable with two such strong minded personalities, each giving their views to the press as to whether Ed had resigned or been sacked !. Ed Berman went on to found InterAction, a youth activity centre now based in one of the permanently moored boats on the Thames that has had a tremendous impact helping young people learn new skills. A succession of international new plays followed, some running for only a few performances, others for a week, of more merit than others, but all bringing new premiered works to the London stage for the attention of the National theatre critics. Among the casts were often names such as Timothy Bateson and Vernon Dobtcheff
Typical crits from the National newspapers included reports such as:
“For the playgoer in search of theatrical oddity, the latest double bill at the Mercury Theatre should not be overlooked. It might not seem important if London had any other theatre which cared so much about the so-called avant-gaude. There is always the consolation of having Robert Eddison holding forth as a king of exquisitely bored melancholy in Architruc and as a haunted literary speculator in the second play, Hypothesis.“ Daily Telegraph April 1967 “This theatre continues to carry the torch for experimental chamber drama. Its latest offering is from America: a sardonic and deliberately disjointed dramatic poem of compelling theatricality and elusive meaning.”
The Times June 1967
“One had never thought to see the legend of Ulysses enacted on the Bakerloo Line but that’s what Walter Lever presents us with in The Guy which was produced professionally for the first time by the International Theatre Club at the Mercury, Notting Hill Gate, last night”. The Guardian March 1968 Jean Pierre’s programme also embraced visiting companies included the startling, full-on energy of La Mama, the Greenwich cafe, New York, troupe who completed their September 1967 European tour of Germany and the Edinburgh Festival at the Mercury as their London debut.
And also The Grand Theatre Panique, who presented a production directed by Jerome Savary, featuring amongst others a transvestite judge swinging from a trapeze. The critics were there in force:
“At the tiny Mercury Theatre at Notting Hill, in the course of the visiting production of the Grand Theatre Panique’s visiting production of Fernando Arrabal’s The Labyrinth.. a young woman siting directly in front of me had been rising with increasing frequency to take photographs of the hurly-burly spilling off the stage. As the proceedings grew more and more unstructured, she mounted the stage itself, dodging among the actors to snap them from intimate angles. One bony young Frenchman, clad only in a mop of hair and small black cache-sexe, evidently found this as cheesing as I. Turning towards her, he removed his single garment and advanced upon her naked as a jaybird. For a moment or two she held her ground with shaky bravado clicking away at him defiantly. Then he took another step forward and abandoning all pretence of dignity, she fled back to her seat. It was a splendid moment. The theatre of immediacy had routed the world of second hand images; the glass curtain of art-in-the-head dividing audience from experience had been shattered by naked reality” Ronald Bryden Observer. June 1968
One memorable week in July 1968, we hosted a Lindsey Kemp artistic spectacular, Pierrot in Turquoise, with the premiere of his renowned Stripper sequence – all in mime. A guest contribution was made by one David Bowie singing ‘When I live my Dream’, one of his earliest performance, well before he hit the headlines.
There are endless side stories of working with Jean Pierre.
Post performance late night discussions with respected theatre luminaries, students and cast members at their Elgin Crescent home, often also to enjoy Deana’s marvellous French cooking. Taking a rollicking from him while serving a customer drinks, unknown to all soaked from the dress shoes up in wine from a broken bottle behind the bar. Bribing the Ballet school caretaker to overlook vital broken School equipment after rehearsals. Hosting a rehearsal in the Theatre by the Beatles in their heyday in July 1968 with teeny bopper fans screaming outside.
Escorting to her seat, Dame Margaret Rutherford, the doyen actress of her day, a loyal patron of Jean Pierre’s.
But most of all experiencing such a broad range of innovative productions and works. My paid for day job became increasingly serious and long and slipping off early or even merely on time to set up the theatre became more and more difficult. My commitment to the dream was perforce faltering. Jean Pierre eventually outgrew his creation. As with all theatre projects financial stability is at best precarious. How he and Deanna survived I never knew. Angela & David Ellis & the owners of the Ballet Rambert were supportive but eventually this pioneering Theatre that had premiered so many new works primarily form overseas new authors, had to close. Its time had passed and other Fringe theatres with perhaps more popular programmes took on the baton from Jean-Pierre.
The ITC under Jean-Pierre’s artistic direction, had put on more than 32 productions in under 3 years. 11 had been altogether new works, 12 had been British premieres and 8 new to London. To my knowledge, no one has yet had the foresight to major on international works to broaden the availability of new works to the London audience.
Jean Pierre went to France and over time we lost all contact and news of him.
But we had the confidence that wherever he was, he was continuing the drive and passion to set new standards in drama and performance.
Christopher Legge
"Jean-Pierre was a member of PFT`s acting ensemble in the 1960 season (all six plays directed by a youthful James Roose-Evans and designed by the inimitable Joan Farjeon), before he turned his attentions to directing at the Byre the following year.
The 1960 season was notable for the world premieres of Ben van Eysselsteijn`s Between The Tides and R. F. Delderfield`s Napoleon In Love, a revival of J. M. Barrie`s The Admiral Crichton (that being Barrie`s centenary year) and a rare production of Garrick`s one act adaptation of Taming Of The Shrew, Katharine and Petruchio, which appreared in a double-bill with Shaw`s The Dark Lady Of The Sonnets - interesting programming.
Not having any cast lists to hand, I can`t identify precisely in which of the six productions Jean-Pierre appeared, but knowing the usual workload for ensemble companies in PFT`s repertoire systems, it`s likely he was in three or four at least.
Since its inception, PFT has had the reputation for developing the talents of young or emerging artists, many of whom have later forged distinguished careers on the national and international stage.
In Jean-Pierre`s case, however, I`m not sure that we can claim much credit, if any. From the acting ensemble at PFT to founding Kiss in just ten years? A journey of such stellar proportions could only be made by a very special individual indeed. "
John Durnin
Chief Executive & Artistic Director
Pitlochry Festival Theatre
Pitlochry Festival Theatre
"It is with great sorrow that we heard of JP's passing. He was such an inspiration for so many people, and his contribution to our artistic community was huge.
I especially loved his outdoor staging of Shakespeare-first the quarry, then the barracks and finally in the botanical gardens, but he was never shy to bring contemporary and provacative theatre to Townsville audiences.
He was always searching for new and innovative ways to bring the beauty and power of theatre to the masses, and he never seemed to tire from this mission of his life. We will miss him sorely, and are very sorry that we cannot make it to either the funeral or the memorial on Monday.
I am certain that the Townsville community will do a fabulous job in celebrating the life and work of this wonderfully talented man, who has touched so many lives in such positive and affirming ways."
Sue Cole and Kerry McIlroy
I especially loved his outdoor staging of Shakespeare-first the quarry, then the barracks and finally in the botanical gardens, but he was never shy to bring contemporary and provacative theatre to Townsville audiences.
He was always searching for new and innovative ways to bring the beauty and power of theatre to the masses, and he never seemed to tire from this mission of his life. We will miss him sorely, and are very sorry that we cannot make it to either the funeral or the memorial on Monday.
I am certain that the Townsville community will do a fabulous job in celebrating the life and work of this wonderfully talented man, who has touched so many lives in such positive and affirming ways."
Sue Cole and Kerry McIlroy
"There are not many people in this world who can turn heads just by walking into a room. There are not many people who command respect by their mere presence. Jean-Pierre was among the few.
I can still hear his booming voice "I refuse to spoonfeed the audience".
I took my 14 year old son along to see Oedipus. Not an easy play for a 14 year old, especially when spoken in ancient Greek. During the performance at one stage Jake whispered into my ear "isn't that man marrying his mother?" I just smiled.
A few days later Jean-Pierre called me aside, as he always did, and asked me how Jake enjoyed the performance. I said he loved the show, he was quite impressed with it. "no, no, no," said Jean-Pierre. "Did he understand what was happening .... the story?". I related to him what Jake had whispered to me.
"Ahhhhh see I don't have to spoonfeed audiences!!" and walked away with a gleam in his eye. I smiled.
Thank you for letting me be part of your world Jean-Pierre."
George Lummis
"So many people I have met and interacted with in my life, so few who have affected it so profoundly as J-P. I will forever be grateful to you."
Lesley Dyer
"This starts at the beginning of the first Bachelor of Theatre course at JCU (1990?) and still continues.
What a wonderful three years as Jean-Pierre moulded the starters into an all-performing team to produce what I still think is my most memorable show – Agamemnon. At the time I had other students as boarders, studying in other fields, but none worked so hard as the students of the theatre. No holidays for them. How did Jean-Pierre succeed where parents failed? Certainly not be being ‘nice’ all the time.
I remember how the group learned quickly that KISS exercises were the first order of the day. Madonna (my daughter) said she went once with a hangover, but it was so hard she could not do it again. The students partied hard during the whole time. Of course, the combined effort of uni and partying took its toll and they transferred tonsillitis to and fro like a basketball in the grand finals.
Madonna became really ill with kidney involvement and I had to transfer her from Lilac Court to home to nurse her. The Doctor provided a certificate and Jean-Pierre tore it to bits in front of everyone as he gave her a dressing down. His theory was that if one had a broken leg (or two) one still could exercise the rest of the body. His way of expressing himself when upset left no words unused. Quite a shock for this mother at first, but then he never beat them.
The shows at the Cowshed and Civic Theatre during the course were just wonderful. What did they have that make them stick in one’s memory?
Perhaps the energy of youth as an extra touch, perhaps a sense of fine achievement, perhaps they listened to Jean-Pierre and realised he had something special for them.
Agamemnon enthralled me, and I think all the audience. I was sitting next to a lady teacher and at the end of the show, she asked ‘Which one is your daughter? I looked down from our front-seat perch, and replied ‘Well, that is her bum’ which was the only part visible as they rested in the final poses.
What a journey this has all been. Farewell Jean-Pierre, you cannot get away from our minds and hearts."
Pat Smiley
"I was deeply upset to hear news of J-P's death. He was a friend of mine and collegue. Eveyone was influenced by this great Director and everyone will have their stories.
We first got to know each other on a train travelling from Ipswich to Roma St. following the formation of Theatre To The Edge. Like two mischevious school boys we created characters and scenarios as people entered the carriage.
It soon became competative as we tried to outdo each other on how outrageous we could make it. None of the passengers were aware.
A year later I wheeled J-P through the streets of Melbourne after seeing Theatre du Soleil with him and Madonna. Wheelchair bound he still managed to create a sense of drama when we entered the Chinese restaurant and he kept us entertained the rest of the night.
It was Jean-Pierre who presented the flowers and chocolates to the actors during the curtain call recently during our performance of Animal Far. Only one person stood up in the seats and applauded. J-P!!!
There will always be a place in my heart for this pioneer of physical theatre here in Qld.
Myself and all the staff and creatives of Crossroad Arts know that his legacy will endure and that Tropic Sun Theatre will continue on stronger than ever, as he would wish."
Steve Mayer-Miller
"I first heard of jean-Pierre when I worked with KISS actors in the early 1980s in the UK. What a surprise it was to come to Townsville and find him here - and what a lesson to see how unstintingly he devoted himself to his art, with what astute economy he focussed on what was central to his vision, and let the lave go by. And how in the process his life itself seems to have become work of art."
Suzy Gilmour
"Deeply saddened to hear of the passing of Jean-Pierre Voos. I first met him in '87 or '88 when FAST (Festival of Australian Student Theatre) was held in Townsville. I was from Tasmania and formed my own Theatre Company Theatrix the following year.
Jean-Pierre allowed me the rights to the "Zim Zoom Show" and it was the Company's first production. It was directed by Michael Limb, a former Tasmanian and student of Jean-Pierre who'd been in the original performance. We flew Jean-Pierre down for the opening and he was thrilled with what he saw.
When FAST was next in Hobart a year later, we had Jean-Pierre as one of the tutors at the Festival. I learnt more from him about acting and direction than anyone else. He was a great man whose legacy will live on in those who have been inspired by him."
Simon Hirst
"Shine on J.P. your memory will ive on in a huge & exciting new future."
Paula Swanson
"You challenged evertone to become better. You will be missed."
Karen Vane
"There would hardly be an actor in Townsville who was not influenced by him. He always had time for a chat, to catch up about those in my family he knew.
He said he loved "my voice" and there was always the promise o f "another role". Will be remembered as a wonderful man."
Jenny Askey-Doran
"Your life's work has not gone unnoticed, everyone that has worked with you has been touched by your selfless dedication.
Thank you for letting me be a part of this."
Jeremy Cheetham
"I knew Jean-Pierre Voos for almost as long as he was in Townsville. We became good friends.
Jean-Pierre's confidence in casting me in Tropic Line/Sun productions considerably enhanced my experience of theatre in Townsville.
I was a late starter. In another time, another place and without Jean-Pierre Voos and his great abilities, performing with a professional company would have been a totally unrealistic prospect for someone with as little experience as I had.
Although Limited my participation in all the activities in Townsville has given my life an enriching dimension, particularly performing in Jean-Pierre's productions.
As well as respect and gratitude for Jean-Pierre's impact on cultural life in Townsville, including mine, I will have sad, but very fond memories of a caring person entirely dedicated to theatre.
June Aylward
I was very sorry to hear of the passing of my old director JPV. He directed me as a juvenile in The Insiders at the Mercury Theatre in London in 1967. Through his direction, care and his wisdom I became a better actor than I thought possible. RIP old friend you are sadly missed.
Martin O Carrigan "What a loss to the artistic community of Townsville. He will be sadly missed. We greatly admired his work, enthusiasm and vision. May his legacy continue."
Mike and Loretta Butler
"Jean Pierre was as much a phenomena as he was a person: a very powerful, uncompromising creative force. I was in the KISS company from 79 to 82 which gave us our first tour to Australia.
He certainly played a major role in my artistic development as he did for the many exceptional people that were drawn to work with him. A few of the many gifts of working with him were, the day to day challenge of training with a tightly knit ensemble, confronting my strengths and weaknesses, challenging myself beyond what was possible and creating spectacles of rare beauty and awesome energy.
He was my friend, faithful and just, to me. It is remarkable to witness his determination over many years and the many different people he has influenced."
Jeff Burnett
"I am very sorry to hear of Jean-Pierre's passing. He will be a great loss to the arts community within Townsville. Please let me know if you require any assistance."
Kylie Ball
"Clearly Jean-Pierre has been a major influence on many lives. Looking back I particularly admire his commitment to Townsville, a city I love dearly, and proof that the centre is where you make it. Personally he set me off on a path into the world of the performing arts that continues to be rewarding and successful.
As an undergraduate at James Cook University in the late 1980s Jean-Pierre's creative energy drew us into a world of play making that remains an inspiration and a reminder about what can be done with what was really very little in terms of what we had to hand. Theatre of the poor!
At the genesis of the then Tropic Line Jean-Pierre coalesced and drew out our commitment to a beautiful series of plays that were uncannily right for the actors cast and were always exquisitely produced with an inspiring attention to detail he always strove for. We toured these shows extensively, we opened, found and made venues all over North Queensland and attracted audiences that were always appreciative.
I also remember his bath tub wine, a delicious avocado vinaigrette at dinner party up on Melton Tce, the thrilling fast car driving he was capable of back then, the photos, the set models, the heartfelt praise and yes, his well deployed and effective temper.
Thanks JPV."
Daniel Ballantyne
"I had the honour and pleasure of being directed by J-P on a number of occasions, from Beckett to Shakespeare. He brought out in me abilities I never thought I had.
Latterly I have worked with him and the management committee of Tropic Sun and again found his creative talent and passion an inspiring revelation. His passing has left a pain in my heart, and a gigantic void in the world of theatre not just in North Queensland.
J-P, I pray that Tropic Sun will continue forever as a living testament to your genius, your dedication and so we, your friends, can always retain our memories of another glorious age of theatre in our region."
Ray Dickson
"In every artistic endevour I undertake, be it acting; directing; writing a song or colouring in, I will always be guided by Jean-Peirre's voice, giving direction, teaching, sometimes scolding, but always right.
I am humbled to have had such a great mentor, teacher and friend. "
John Goodson
"Jean-Pierre gave totally of his superb artistry. He was fired with enthusiasm for his work, his actors and his audience - a man of lively vision. He was tough yet kind, strong in his directing, yet he allowed and sought the actor's own shaping of the character.Always he was the master.
Actors and director were bound in the focus of the play. It has been a privilege and an honour to work with him and to know him as a friend. I salute Jean Pierre and the brilliance of his life's work."
Beth Honeycombe
"With J-P's passing it feels as though a chapter has closed that began in my late teens. Young and impressionable, he was there to gently guide(and sometimes not so gently advise). Ultimately he set me on my path to Stage Management way back as the SM for The Architect and Emperor of Assyria in '91, and then onto NIDA and an enjoyable career.
Regretfully, I didn't stay in contact but have often thought of JCU, fellow students, and those I knew in Tropic Line. I'm sorry that Gary and I will be unable to attend on Monday but with those in Brisbane we will gather at a later time, raise a glass and remember the times we shared because of Jean-Pierre.
He truly was an inspiration and to be admired for his passion and willingness to share his life's calling with so many. To his family and close friends, our deepest symapathies. "
Samantha French
"We heard of Jean-Pierre's death with great sadness. He will remain one of the most memorable and significant people we have known. He could also be a witty and delightful companion.
We got to know Jean-Pierre personally when our son, Brendan O'Connor, and his then wife, Perri Cummings, were his students at JCU, and later helped him found Tropic Line more than 20 years ago. We saw many of his Tropic Line shows which were a revelation to those of us who were used to more traditional theatre.
Our association continued through Brendan and his present partner, Terri Brabon, another of Jean-Pierre's proteges and friends. He was a creative and inspirational artist, and his art will live on in all the actors he has worked with --- all the actors in whom he has placed part of himself.
Cheryl Stock has described Jean-Pierre as one of Australia's best and most under-rated directors. We will all agree with that. But we don't think the fact he was largely ignored by the Australian theatre establishment worried him one bit. His life was theatre, not fame, and he found the perfect venue in Townsville for the magnificent theatre he made.
He will be missed by all who knew him, but the lives of all of us who knew him have been enriched by knowing him."
Gerry and Ann O'Connor
"I have just returned from the entertaining and very moving Celebration of the life and work of Jean-Pierre, at the Civic Theatre.
It was wonderful to see how much he meant to so many people and to hear the often hilarious anecdotes recounted by many of his past and present colleagues. (great work Terri)
For myself, I am an enthusiastic theatre-goer and have considered myself very fortunate to have lived in Townsville since the late 70s and therefore having had the opportunity to see a large part of the Tropic Line/Sun repertoire.
In fact one of the first reasons I have always given, when people ask me what has attracted my family to Townsville for all these years, is the high quality of theatre we have available. I am saddened that I was unable to see the final play - Oedipus, due to an overseas holiday, however
I am certainly determined to support everything in the 2008 season and hope many of the people there this morning will do the same."
Lesley Richards
"Dearest soul of such maddening love, you enticed me over the edge into parts of me I never would have found.
You 'catalysed' me beyond myself and a spark of you lives on in all that I do.
Travel well to the light, I will will catch you there."
Jade McCutcheon
"I first met Jean-Pierre after he arrived in Townsville in 1986, when I was Mayor of Townsville.
His legacy of enhancing and diversifying regional theatre will be long-remembered as will his devotion to training young people in theatre work. He leaves a large legacy of professionalism and vision."
Mike Reynolds MP
(Member for Townsville and Speaker of the Parliament of Queensland)
"One night, at the Courthouse Theatre, there was a huge storm before the show and the poor patrons were trying to eat dinner on the verandah.
J.P. came into the dressing room chuckling and said "It's like the deck of the Titanic out there - it's getting wetter and wetter and everything is starting to lean!
Jennifer Young
"J.P. wasa very nice man and everyone he came in contact with, looked up and admired him."
Gloria Rigg
"We will all miss the man in white. He was out daughter's mentor and our family had the utmost respect and admiration of him. We all hope Tropic Sun will pull through the loss and as J.P would say.
"The show must go on."
Kathy & Bob Brabon
"What an enormous gift to have had such a man play such an important role in my artistic and personal development.
Favourtite show?
Why, Flowers for Algernon, of course, but then I am biased!!!"
Shannon Chadwick
"Thank you for giving me the opportunity of a lifetime Jean-Pierre, and letting me be a part of the company.
Remember you always, your cheeky - sly grin, the star in your eyes.
Alva Dodd
"I have very happy memories of witty, insightful conversation quips from Dr. Jean Pierre whenever I was working on front-of-house, supporting student performances at "The Cowshed" on JCU campus or being a member of an audience.
Being a theatre lover/supporter/activist I was always inspired by Jean Pierre's directing and acting which, of course, added much to the overall enjoyment and appreciation of a production.
I value his friendship from JCU days where I was on the staff of St. Raphael's Woman's residental College through the last 14 years of very active involvement with Townsville Little Theatre.
May he rest in peace and his dreams go on forever ....................."
Sheila Hawthorn
"It is hard to believe that J-P is gone. He will be greatly missed. To Tropic Sun and long-time friends and short-time friends, enjoy your memories. These are my impressions of J-P in the short time that I had the privelege of knowing him.
Touched...
Embraced...
To Hold...
To be held...
To have lingered a while...
Kissed
Chatted
Laughed
Missed
Cemented Memories
Rodelea J-P"
Donnielle Fatnowna
"Jean-Pierre was a pillar in the creative life of Townsville. His innovation and direction will be long remembered and sadly missed."
Prof Ryan Daniel and all at the School of Creative Arts, JCU
"It is with great sadness that I return to work from spending time away to hear of Jean-Pierre’s passing.After having worked closely alongside him and interviewed him for stories on numerous occasions over the years, I am deeply saddened to hear that this wonderful and such dedicated man is no longer with us. He will forever be remembered. Rest in peace J-P."
Isis Symes
"When Jean-Pierre first phoned to invite me to join his cast for the production of "The Tempest" I asked him if he had the right number and the right person. I had no experience with Shakespeare. He assured me that he knew my background. I agreed to take part. It was daunting to say the least, but Jean-Pierre was always supportive and the "The Tempest" was the first of a number of Jean-Pierre's productions that I was involved in.
I respected his talents and skills as a director. As a person he was a gentleman to me and very supportive. An example was when I received a card from him after he saw me in a Choral Society production. He thanked me and said how much he had enjoyed my performance. This meant a lot to me then and still does. Here was a talented, busy man who took the time out to encourage me. He truly was a man to respect and admire."
Rod Wilson
"Thank you for your spark
For the house you once shared
For Wuppertal and Pina,
And for the community you created.
Magically materializing where nothing at all
Mercurial, yet unrelenting
Great teacher, sometimes friend
Inspiring always inspiring.
So sorry to mark his end
Yet witness here all the lives he touched
And though his torch has passed
So many flames he lit still burn"
Bruce Jaffe
"Thank you Jean-Pierre for having enriched my life with your presence, friendship, and support.
Strange how quickly it all happened. It feels empty not to be able to have those wonderfully stimulating, humorous and serious conversations; not to find you any more at Tropic Sun, always ready for a coffee or a chat. Not to see you pottering in your garden or making a delicious dinner. Not to be able to reminisce about France or Holland, and so many things that have happened in Townsville over the years.
Your plays for me were some of the best I have ever seen, anywhere. It started with the Orestes cycle when you first arrived in Townsville. And then you stayed. How lucky were we as people and as a city. I will miss your deeply felt insights, your commitment to the arts and wonder where are you now."
Dr. Anneke Silver
"I´m deeply moved and sad to hear the news of Jean Pierre´s recent death. I just want to say that I´ll always have him in my heart and I´d like to express him all my gratitude to make my time in Townsville so wonderfully worth it.
I´ve participated in his workshops and in one of his plays, "The House of Bernarda Alba", which will be an unforgettable experience in my life, as it was written by an Spanish author, and at the same time of the performance I was 5 month pregnant with my daughter Lua, and curiously she´s very fond of theatre and everytime we go to see a play she wants to climb up to the stage!!
I just want to send you all my love and support from Spain and hope that you continue the wonderful work you´ve been doing knowing that Jean Pierre´s soul will always be with you."
Cayetana Rodenas
"I can't tell you how sad this news is. Jean-Pierre was a wonderful and inspiring director and artistic director, and a man whose commitment to Australian theatre cannot be understated. My heart goes out to all of you. I am devastated."
Stephen Sewell
"You will be having the funeral when we wake up. I will burn a candle and think of you all. In spirit I will be there."
Lorette van Heteren
"The years working with Jean-Pierre were so rich in learning and experiences. Much of the success and satisfaction that I get as a director, I attribute to the Master.
I have several enduring images. The first time that I saw any of JP’s work was when he toured in Australia and presented the Agamemnon the image of naked actors, bodies covered in ashes and white grease-paint standing on their heads, declaiming in Greek. Everything’s going in the wrong direction I thought.
400 square metres of parachute silk spread over the water of Paluma Dam with the Fisher King wearing it like a huge cape and fishing net, mist swirling around.
The Zim Zoom Show, a wonderful new experience for audiences and actors alike showing his brilliant and bizarre imagination.
The Breasts of Tyrisius in the Cow Shed. A larger than life picture of JP in flying jacket and silk scarf, standing on a rock on the edge of Paluma Dam, as though he was about to take off without a plane.
I learnt from JP that for actors and directors anything is possible. If you thought, or said, something was too difficult he would say “What would happen if it wasn’t?” JP demanded and got loyalty and 110% effort and commitment.
A pity the powers that be were so threatened by him and what he did. I will always remember a man of huge generosity, of spirit and talent and worldly goods – the stuff of legend and the stuff that dreams are made of."
David Berker
"I've just come home from the Civic Theatre celebration of J-P, and have to tell you that you did him proud - no higher compliment - truly superb - hit all the right notes and recalled such extraordinary experiences that Jean-Pierre has given us as special gifts. Beautiful. Thank you, and commiserations in your loss. "
Dr. Kay Martinez
"From the beginning, Jean-Pierre trod softly – drawing audiences – always entertaining – subtly extending local theatrical experiences across the gamut of theatre.
His recent production of Oedipus, a major success, was presented in the Greek language to sell-out audiences in Townsville and aroused interest right across Australia.
He created a theatrical legacy for Townsville that will continue to flourish through our university drama students, live theatre in our city, and in the Queensland outback.
In local history, Jean-Pierre Voos should forever be remembered as ‘The Founding Father of Live Theatre in Townsville’.
Adele Nelson
"Jean Pierre was a great theatre enthusiast and really inspired me those many years ago at the ANU.
I also remember Richard Roxburgh telling me how much he loved working with him and learning from him. I really enjoyed my time in Townsville working with him and it was a great opportunity. I remember him showing all those great videos of the Kiss performances."
Lisa Angove
"Thank you Jean-Pierre for being part of my life in Townsville: you have inspired many of those that I love and they in turn inspire me and so the poetry of your life continues."
Jenny Tyack
"Thank you for the fun and your expertise. I'll remember you!!
My friend and mentor.
Pam Snell
"Jean-Pierres's production of "Salome" for the Kiss Company and presented at the Civic Theatre, Townsville, in Sept 1980 was one of the most memorable pieces of theatre I have seen. I still have fond memories of it."
Ron Hamilton
JP was a man of great talent, a true gentleman, an inspiration and master of his art. He will be long remembered."
Judy Hunter
"It was with great sadness that I heard the news about JP's passing. He was an amazing man.
Townsville and all of his students were so lucky to have him. He will live on in our stories and anecdotes. I will miss him.
Victoria Carless
Townsville and all of his students were so lucky to have him. He will live on in our stories and anecdotes. I will miss him.
Victoria Carless
"Thank you JP for your friendship and for the past 10 years I have known you while I have been a volunteer in your company.
I will miss you always and I intend to keep on volunteering for your beloved company."
Love you lots.
Wendy Wooler
"With style, gratitas and infinite variety Jean-Pierre demonstrated to us that the art of theatre is not dead, even in Townsville. Where he gave it a habitatum and a name.
Long may it live!!
Barbara Douglas
"How lucky Townsville is to have had Jean-Pierre for 20+ years. He contributed so much to the arts here and his legacy will be passed on forever by his students and those who worked with and for him.
Only a gentleman of his cailbre could have given us such a variety of productions - Greek Tragedies (in Greek as well as in English), Shakespeare's tragedies and comedies and then Randomia, Zim Zoom and Shave A Cactus!
My fondest memories of J.P., however, will always be the times I stage-managed for him including Twelfth Night, The Elephant Man & Nicholas Nickleby."
Honor Stephenson
"NELJAPÄEV, 24. JAANUAR 2008
Death of a Legend
Tänane Townsville on leinarüüs. Matame prantslasest teatridirektorit Jean Pierre Voos'i (76), kes suri möödunud nädala lõpul. Ütlen mõned sõnad selle mehe tutvustuseks - ta tähendas linnale oi kui palju! Teda tunti JP nime all. Ütled: kultuur, mõtled: JP, Townsville'i teatri alusepanija. Sain JP-ga lähemalt jutule paaril korral, Tropic Sun teatri fuajees. Hallipäine hästi sõbralik vanake tavatses õlale patsutada ja pani meid enne etendust ikka kirja teatritudengitena. Nõnda saime 300-kroonise teatripileti 90 eeguga. Enamik inimesi, k.a linnapea Tony Mooney, ei saa siiani aru, miks selline talent end Townsville'i „mattis". Prantsusmaal sündinud, hariduse sai Inglismaal. 1986. aastani töötas JP peamiselt Euroopas. Siis kolis joonelt Townsville ja hakkas kahe aasta pärast ametlikult austraallaseks. Ta asutas kaasaegset teatrikunsti viljeleva Tropic Sun teatri ning õpetas Queenslandi ühes suurimas, James Cook`i ülikoolis teatriteadust.
JP oli hästi loov, ta „sulest" pärinevad mitmed tükid. Eelkõige keskendus ta vana-kreeka klassikale. Käisime mullu vaatamas kreekakeelset etendust kuningas Oidipusest (vt pilti). Mängisid kohalikud näitlejad, nii et kõige suuremaks müsteeriumiks jäi, kuis nad kreeka keele selgeks said. Õnneks polnud juttu liialt palju. Etendus põhines emotsioonidel ja kehakeelel. Mis eriti kurb, veel mõned nädalad varem oli mees täiesti hakkamas. Jooksis parajasti külalisetendus „Loomade farm" (vt pilti). Uskumatult hästi tehtud tükki mängisid kõigest viis näitlejat! JP kohmitses tagaplaanil ringi nagu ikka: kus aitas eesriiet tõmmata, kus tegi vihma häält järele, kus jutustas näitlejatega. Kuna ta pere asub Inglismaal, siis arvati, et mees elab teatris. JP valas ise õli tulle. Teatas näiteks, et käib kunstiringkonna lemmikrestos Brewery`s ainult sellepärast õlut joomas, et seal asub Little White Space'i nimeline kunstigalerii. Eesti kaotas hiljuti Jaan Krossi. Jube kahju, kui andekad inimesed kaovad.
Olin JP-d harjunud üle päeva kohtama, sest teater asub praktiliselt koduukse kõrval. Seda enam, et J asid mullu niigi mitmed tagasilöögid. Kõigepealt suri ta tšautšau koer ning siis teatas riik, et võtab teatrilt riikliku toetuse ära. Ilmselt peeti liiga uuemeelseks. Nii tuli teatrijuhtidel kiirelt erafirmade toetus taha saada. Ning just nüüd, mil sai selgeks, et teater jääb igal juhul püsima, järgnes haigestumine. Kaks nädalat võitlust kopsupõletikuga ja surm. Muidu on meil suvi parasjagu täies purjes. Eile oli 39 kraadi sooja ja ei jaksand õieti liigutadagi. Samal ajal Eesti tormiga tuli kahe päevaga kolme aasta vihm maha. Naaberlinnad maadlesid vihmaga eriti kõvasti. Ajaleht hoiatas, et peetagu silmas kõrgvee eest linna keldrites rahu otsivaid krokosid.
Nüüd õitseb kogu loodus. Aedades põrisevad alatasa muruniitjad, sest hein kasvab nagu jaanipäeval. Linna taustal kerkivad mäed pole enam pruunid, vaid rohelised. See on ka ilmsesti põhjus, miks kohalikele vihmane suvi kangesti meeldib. Päris hea nali: käisin kohalikus ülikoolis inglise keele tundide ja magistrikraadi kohta küsimas. Soovitati abielluda kohalikuga nii ruttu kui võimalik. Siis saab riigilt 500 tasuta keeletundi ja ülikool on kolmandiku võrra odavam. Aga kuramuse kallis on siin riigis õppimine ikkagi: riiklikule tudengile aastas vähemalt 8000 AUD-i (80 000 EEK). Arstitudeng maksab 100 000-dollarist laenu tagasi vähemalt 10 aastat. Pole ime, et neil on siin kõik India importarstid."
From an Estonian Paper http://www.sloleht.ee/airidownunder
| site search byfreefind | advanced |