In 1959, two convicts, Kevin Simmonds and Les Newcombe, undertook an audacious escape from Sydney's notorious Long Bay Penitentiary, which led to the biggest police hunt in NSW history.
Their deadly run involved around 500 policemen, armed with guns, bulletproof vests and fast cars. Escaping from the central section of the gaol through a ventilation duct in the roof of the prison chapel, they spent their first night of freedom huddled in a freshly dug grave in Botany Cemetery.
Over the ensuing weeks and months these two mates sought to hide under the Sydney Showground grandstand, break into Emu Plains Prison Farm to steal a revolver and hide in a car buried in the bush.
You'll learn their fate and what happened with that bloodied cricket stump.
DEADHOUSE: Tales of Sydney Morgue, takes audiences on a tour through not only a pair of dark stories from Sydney’s historical past but also through the bowels of an historic venue at the same time. What attracted you to this concept and made you want to put forward The Deadly Run as part of the program?
I was drawn to the immersive aspect of Deadhouse because of the discussions the medium opens up between creatives and audiences (some of whom may never usually go to the theatre). Deadhouse allows for new Australian writing to be seen by a broad range of Sydneysiders from theatre goers to history buffs. Allowing audiences to be part of the narrative provides a personal connection to the material that film and normal proscenium theatre simply can’t. When an audience takes part in the show it’s no longer an auteur telling you what to think but a conversation that changes every night which is truly exciting and unique.
The Deadly Run is a show about cultural perception. What’s the difference between crime and conformity in a time where often the law makers were just as corruptible as those imprisoned; Simmonds and Newcombe were very divisive among the people, with some supporting them as rebellious heroes and others seeing them as crooks, I want to see how the people of today will react when put in that environment. Deadhouse is a wonderful way to pose that question.
What inspired you to create The Deadly Run, and why do you think the story will appeal to Sydney audiences?
When I was approached to write about Simmonds and Newcombe, on the surface it seemed to be a fun cops and robbers narrative, but when reading about where the two notorious escapees and the era they came from, I became drawn to the underdog aspect. I found their plight for personal freedom both relevant and humanly relatable. These two men were not excessively violent people. In many ways the pair seem to be the personification of normality; the everyman, two people trying to navigate the many social expectations of life and sadly failing. In an era where conformity was paramount, Simmonds and Newcombe were a result of disillusioned youth fighting against the stone hard, and at times, corrupt weight of the law.
I think this story will appeal to Sydneysiders as it touches upon the constrictive feeling many people experience when trying to keep up with social norms and expectations. We are a culture that still roots for the underdog, especially when they have something to say about power (Julian Assange), perhaps because many consider themselves underdogs, forced to work long hours in jobs they don’t enjoy and prescribe to social norms they don’t feel part of or necessarily agree with.
DEADHOUSE plays on the obsession with true crime that the world seems to have at the moment. Why do you think we’re all so fascinated by crime?
A crime is this very small line that many people fear crossing. You go from being part of the norm to being an outcast, someone from a different life. We want to know why people commit crimes and what makes them tick. Individuality is an important thing to most people, committing a crime large or small is probably the easiest way to set yourself apart and become a somebody.
The Deadly Run will be housed in an exciting (and appropriate) venue - the Crypt underneath St James’ Church in Sydney. How does immersing ourselves in a venue like this change our interaction with the story, and how does this specific venue impact our relationship with the work?
The Crypt is a wonderful space for this narrative. Simmonds and Newcombe spent a lot of their lives in small confines whether it be a gaol cell or some self-made bunker to hide in. The space is very intimate at moments, the stone walls of the crypt provide a comfort and warmth for the audiences and escapees. At other times, the hallways and crevices will be a haunting reminder of the isolation and cruel conditions of Grafton Gaol and imprisonment.
What do you hope to achieve with The Deadly Run, and what can audiences expect from this show?
Deadhouse has a profound effect on audiences; it gives writers a chance to open people’s eyes on past events. The audience will have to make a very hard choice at the end of Simmonds and Newcombe, a choice that once informed through the performance will change your perception on the relationship between justice and crime. The show is one large manhunt and you’re the one carrying the torches. What you may find at the end hopefully will stay with you long after you have left the crypt.
RAPID FIRE QUESTIONS
Favourite production you have ever seen? Titus Andronicus at the Globe Theatre.
You’re getting on a plane tomorrow and you can go anywhere in the world, where do you go? New York
Dream show to create? A show to be performed at Belvoir or STC.
Plays or musicals? In the wise words of a catchy add for burritos –Why not both?
A hobby you have beyond the theatre? Gaming, A wonderful form of immersive art.
What’s next for you after this show? I am directing a show to premiere on December 3rd called “The Blogger” by Fran Bowick happening at Fringe HQ Kings Cross. I am also in discussions for a new work to be produced by my company Mon Sans Productions and looking to remount my last show STREET which was performed at Sydney Fringe this year.
The Deadly Run opens on November 20 at The Crypt under St James' Church. You can get your tickets here.
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