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Helmut Bakaitis is an actor, writer and director. He arrived in Australia at the age of six in 1950 on board the Wooster Victory, a special vessel for displaced persons. His parents fled Lithuania in 1943 in fear of the advancing Russian army, and during their journey, Helmut was born in the town of Lauban near Dresden in Germany (it became Luban and is now in Poland). Bakaitis spent his first five years in transit camps run by the UN in Germany and Austria, as his father worked as a translator.(1) In Australia as a boy Bakaitis found life difficult. He was persecuted because of his name and his accent and as a result, he immersed himself in books and movies. He would sneak off from home in Bankstown on Saturdays to go to the cinema on his own. When his mother discovered he had watched Those Redheads From Seattle she banned him from the movies. But a few years later his parents purchased the Pacific Milk Bar next door to the Kings Cinema in Balmain. As a teenager he would dash in to the movies and rush out again five minutes before interval in order to help serve milkshakes and coffee to the cinema patrons.
Bakaitis attended Fort Street Boys High School. He survived bullying by wagging school but he enjoyed learning languages and performing. He spoke Lithuanian at home and some German, and at school every boy learned Latin. At his suggestion the school produced a comedy by Plautus and Bakaitis played a drunk. He thoroughly enjoyed the experience and soon afterwards formed a drama group where he directed a production of Ibsen’s John Gabriel Borkman and Rosmersholm. He was chosen to play Hamlet in a special production entitled The Play’s the Thing performed outdoors at the War Memorial in Hyde Park. Bakaitis left home at sixteen, worked as a stenographer for the Railways and continued his studies in the evenings. He won a scholarship to NIDA and at 21 years of age, he accepted his first professional role at the Theatre Royal in Hobart. Bakaitis worked with George Ogilvie in the theatre, has appeared on television, and then moved in to writing and directing children’s theatre. Bakaitis played the title role in a production of King Lear for the Sydney Theatre Company directed by George Ogilvie in 1995. He brought with him a strong physical presence and agility, and exceptional vocal stamina and range, for this most demanding of roles. In 2003 Bakaitis became a cult figure, known to audiences around the world, for his celebrated role as The Architect in two science fiction films The Matrix Reloaded and The Matrix Revolutions. He has made an immense contribution to theatre as an actor, writer and director, and especially to the development of theatre for young people in various settings, over many years.
Early Years
One of Helmut’s earliest memories is of being alone outside in a compound with snow falling. It was silent and cold, he was alone, and there was a terrible smell. He began to scream in terror. Later he learned that the camp in which he first experienced snow had been a Nazi death camp in Celle.
When Helmut and his parents arrived in Australia they lived in several immigration centres. His father, Vincas Bakaitis, had been an academic, had attended Mannheim University, and spoke five languages. He hoped to become a teacher or lecturer. Yet Bakaitis was forced to dig sewers, and was separated from Helmut and his mother. Helmut’s childhood in Sydney was extremely difficult. His parents were unhappy, and his mother regarded the period in Australia as temporary. Eugenia had begun teacher training but desperately wanted to paint. Helmut was bullied at three schools, including Fort Street Boys High. On one occasion he ended up in hospital. At Bankstown Central Primary School the other children would taunt him, pelt him with stones and chant ‘Nazi, Nazi, Nazi’. He was hospitalised after one brutal attack, and spent his time hiding in the library. It didn’t help that his mother curled his hair, and dressed him in effeminate outfits, as though he was in Germany, with a handkerchief pinned to his shirt. Helmut would dump his clothes in a storm water drain and put on another set, before walking to school, in order to fit in with the other children.
Bakaitis’ interest in the performing arts developed at Fort Street Boys High, where he had a scholarship. Although he was bullied at the school and was encouraged to join the cadets ‘to become more of a man’, he read plays and began to direct plays put on by the boys. A music teacher invited him to join a madrigal group, and encouraged him to play the flute. Another teacher, Dan Dempsey, who directed plays every year, chose Bakaitis for the role of Hamlet, took Helmut to see Don Giovanni, the Australian Ballet and to see the Elizabethan Players performing Brendan Behan’s The Hostage. The experience of working with Dempsey was transformative and Bakaitis began to write plays.
At the National Institute for Dramatic Art (NIDA), Bakaitis found himself surrounded by likeminded young people in his acting course. For the first time he felt as if he belonged to a group. He introduced Jim Sharman to German theatre and gave him a recording of Kurt Weill’s The Threepenny Opera (Die Dreigroschenoper). Sharman was enchanted and recalls that the experience transformed him and began in him a life-long fascination with cabaret and the Weimar theatre.(2) Sharman produced plays Bakaitis had written. Bakaitis led a delegation of students demanding some tuition in nineteenth century opera, and later a group of students, led by Bakaitis and Sharman, formed their own cooperative theatre company and produced Shelagh Delaney’s A Taste of Honey. Helen Morse, Martin Harris, Anthony Thurbon and Roberta Grant participated in this production. NIDA supported the student initiative and the production toured on behalf of the Arts Council. Bakaitis’ abilities to act, write, direct and manage theatre projects were evident from the beginning. Before he had graduated, he was offered his first professional acting role.
It was an eye opener working at the old Theatre Royal in Hobart with Max Oldaker, the former matinee idol and veteran actor. The theatre itself, with its groaning old timbers, felt comfortable and intimate, and cosy, like an old ship. Oldaker taught Bakaitis how to project his voice, how to regulate the breath, and how to sing, using the songs of Noel Coward. When the show was over, Oldaker took Bakaitis to his home, and continued the tuition in drama in private sessions at the National Theatre in Launceston.
Back in Sydney Gloria Payten took Bakaitis on as a client and attempted to convince him to work in television. He didn’t feel ready and instead accepted a position offered to him by Malcolm Robertson, in the Young Elizabethan Players, performing Shakespeare for schools all over Victoria, Tasmania and South Australia. Every day the troupe performed one of five plays in a school hall, packed up the set and costumes and moved to the next town. Helmut played Malvolio, Orsino, Romeo, Richard in Richard II, Iago and Mark Antony. The intensity of the schedule sharpened his acting skills, and his facility with Shakespearean verse. Bakaitis also discovered that he had a flair for stage lighting. During frequent blackouts, he would save the production by fixing up special lamps to light the stage. During the tour he wrote his own plays.
Helmut Baikaitis in Reg Makes contact, 2015. Directed by Connie Chen. Photograph by Kate Disher-Quill.
Just a year out from NIDA, Bakaitis had his own play produced at the Russell Street Theatre in Melbourne. It was called The Pageant of the Love Tree and although it was not aimed at children, Malcolm Robertson produced it for children with great success. At the Melbourne Theatre Company Bakaitis met George Ogilvie who had recently returned from Paris, fresh from studying at the Ecole Jacques Lecoq, where the training emphasised physicality in playing, and where improvisation, mime, mask work and clowning, were used to arouse the creativity of the players. Bakaitis recalls that at the time ‘it was the dream of every actor in Melbourne to work under Ogilvie. Already he was known as “the actor’s director”’.(3)
George Ogilvie had a huge influence on Bakaitis. The warmth and brilliance of the man and his quiet, collaborative style of directing, meant that he became a trusted teacher and friend. When they first met, Helmut said George looked like a French version of Woody Allen. They spent weekends doing clown workshops and mask work with small groups of actors. Ogilvie introduced them to a ‘unique amalgam of Lecoq exercises, commedia dell’arte and Celtic mysticism’.(4) Helmut was writing plays and Ogilvie told him that he should also try directing. Ogilvie is a director who understands and also loves actors. In his memoir he states that ‘it is the actor who gives meaning to everything that happens on stage …From the first moment I was aware that there was such a thing as a performance, I have been in love with actors, both as a breed and individuals. If, as the guru says, all life is an illusion, then actors, in celebrating and heightening that illusion, are able, on occasion most wonderfully, to reveal the truth that lies behind it.(5)
Ogilvie directed Bakaitis in Burke’s Company (1968), a haunting play by Bill Reed, that evokes the terrible journey of Burke and Wills and their party of men, who set out in 1860 to walk from Melbourne to the Gulf of Carpentaria. The design was innovative, with a corrugated floor that resembled the dry earth, its curved mouldings appearing as a strange kind of ‘contour map’ on a largely bare stage.(6) A huge, gleaming steel sun of metal plates welded together, hung behind the actors, who wore modern dress, and stomped onto the stage when the play opened. Ogilvie incorporated mime and music, using Peter Sculthorpe’s Sixth String Quartet to provide the dramatic mood during the scenes in which Burke is making his final journey to his death. Bakaitis played Wills, with George Whaley as Burke and Sean Scully as King. Dennis Olsen played Brahe and Simon Chilvers played Wright. It was a highly physical production with complex choreography, offering a new experience for the audience at the time because of its non-naturalistic, highly physical performance style. The local critics were luke warm in Melbourne, but Phillip Adams wrote that ‘the production is the best I’ve seen on the Australian stage’.(7) Katharine Brisbane described the play as ‘lyrical and epic’. She praised the play itself and also Ogilvie for the ‘visual strength’ and ‘verbal orchestration’ of the drama, with the mime elements a ‘mainstay’ of the production.(8)
The highlight of this early period of Helmut’s career, working with George Ogilvie, was a production of The Three Sisters at the Russell Street Theatre in 1968. Helmut told me it was an extraordinary experience, recalling that:
we’d been on a tour with The Crucible and The Magistrate but on the tour we rehearsed The Three Sisters – it was an extraordinary production – I played Andrei – it’s the kind of play in which I learned to act for the first time – the fact that we were on tour, that the ‘family’ would come together every day in a different place, and we clung to each other in the way the Rostovs might have – it stopped being an imaginary thing, once we got back we still had rehearsal times – the production went for three and a half hours.
Ogilvie regards this production as his ‘finest work’ as a director. He remembers the casting as perfect and the circumstances of touring together as rich and productive, creating a ‘trusting environment’ and a ‘family feeling’:
Adrift in unfamiliar towns, the actors were happy to come together each day. The Three Sisters’ house became our home … As the actors began speaking the lines and confronting each other in scene work, a world of feeling, of dreams, of secret desire began to be exposed. Gradually, a hidden life was revealed: lying behind the social chatter and the lies lay the pain of vulnerable human beings. This momentous discovery required time, patience and support for the actors and myself. I no longer felt like the director, instructing from the stalls, and became someone walking with them, uncovering the dreams we all have as we wander through life. The play began to take shape as we toured from one town to another, setting up our few props and makeshift furniture where we could.(9)
Bakaitis worked with the Melbourne Theatre Company for five years, appearing in numerous plays, performing by night and rehearsing the next play by day. During this period he befriended Graham Blundell and Alan Finney. Bakaitis wrote a couple of plays for La Mama, including one called The Titillators (1968), focussing on his obsession with Luna Park and two Beckett type characters who inhabit the murky reaches of the River Caves ride, played by Martin Vaughan and Malcolm Robertson. His next play The Little Lady Steps Out also premiered at La Mama. Bakaitis wrote this play for teenagers and it portrayed a young girl from Wangaratta arriving alone in St Kilda on Saturday night. She is raped at Luna Park. It was an ambitious play that tackled important issues, and he didn’t shy away from awkward and confronting matters in writing for young people. Bakaitis continued to work with the MTC and shared a mansion near the Melbourne Cricket Ground with George Ogilvie and Rodney Fisher.
In 1971 Bakaitis appeared as the Fool in a production of King Lear directed by Jim Sharman at the Russell Street Theatre. George Ogilvie encouraged Bakaitis to join the Old Tote Theatre in Sydney, where he was working. Rather than acting he did dramaturgical work and designed programmes. He found he had an aptitude for graphic design, and he assisted Ogilvie as director for Uncle Vanya, appeared in The Good Person of Setzuan directed by John Bell and in The Taming of the Shrew for Robin Lovejoy, with John Bell as Petruchio and Lyndel Rowe as Kate. At Nimrod Bakaitis worked with Rex Cramphorn who directed a play by Bakaitis called Shadows of Blood, with Kate Fitzpatrick, Jane Harders, Peter Andrew, Bob Hornery, Martin Magee and John Wood. Both Helmut and Rex Cramphorn were devoted to the work of Edgar Alan Poe and the play took audiences even further into the macabre.
In 1970 Bakaitis worked with John Paramour, Jackie Carroll and William Yang performing in primary schools a version of Frankenstein in a theatre in education project. At each school the children designed cut out dolls. When the actors returned the following week the children created their own monster. Almost invariably the monsters made by the children were versions of either of their parents or siblings. Using the monsters Bakaitis and the children developed a play. He wrote a script and a sponsor donated crates of outsize aluminium meccano sets and power tools. At one school they built a rocket ship with the aluminium sheets and covered it with paper. At another school they worked on a version of Snow White and the Seven Dwarves. As the weeks progressed each group of children had created a play and a creative play space, a performance space for themselves in their own school.
Bakaitis seemed to have a natural ability to engage children in creative work, and his project took him all over Sydney. He always spoke to the children as equals. Twelve schools created twelve separate productions with Bakaitis and The Team, as he called them – Paramor, Carroll and Yang – facilitating the children with each element of the theatre making process. It was a great success.
Perhaps Bakaitis’ most well known play is the one he wrote for the Arena Theatre Company called The Incredible Mind-Blowing Trial of Jack Smith. It premiered in 1971 at the Presbyterian Ladies’ College in Burwood, Melbourne; it toured and two additional productions were mounted in various locations for the next five years, (206 performances at 186 schools), with completely different design and costuming in each production, and with music provided by Damien Jameson and Roger Corbett. The play was performed in the round with minimal props, and encouraged audience participation.(10)
Bakaitis read voraciously, investing a great deal of research into all of his projects. While he was working on Jack Smith he discovered the work of Dorothy Heathcote, an educator in the UK who favoured holistic methods of learning in schools with a focus on drama and pioneered drama in education. He found a film of her work and began reading the research of Brian Way, another educator who focused on process not on product in drama for children. Heathcote believed in the intensity and intimacy of the relationship with drama as the primary way of learning. One of Heathcote’s methods of involving children was to make them ‘experts’ on problems. The idea began when she appointed a group of three difficult boys as kings in a week-long drama, making the boys ‘expert kings’.(11) For Heathcote the three R’s are rigour, realisation and responsibility. Bakaitis participated in some workshops given by Heathcote when she visited Australia, allowing him to build on his understanding of her methods and her philosophy.
By 1972 Bakaitis was a committed Maoist and in thrall to the ideals of the Glasgow Citizens Theatre which had three artistic directors. When George Ogilvie was appointed director of the South Australian Theatre Company, he negotiated a similar arrangement, making the company a collective, and enabling Rodney Fisher and Bakaitis to work as his associate directors, with Bakaitis excited at the prospect of taking responsibility for youth theatre. He began working with primary schools in Adelaide, and established another youth theatre company called the Saturday Company, writing plays for the group and garnering huge interest in the Company. Their first production was called Dialectic Rock and Roll. Bakaitis also adapted a play based on a medieval poem called A Lay of Sir Orfeo and the story of Orpheus and Eurydice, set in Winchester. It was performed like a medieval mystery play with one hundred teenagers in the cast dressed in the costumes of the various guilds, serving home baked bread, cheese and salt to the audience members as they arrived.
During the Adelaide Festival of Arts, Bakaitis organised a festival for young people called the Come Out Festival. A Magic Bus pulsating with the music of Pink Floyd traversed the city streets full of children dressed as Martians. He wrote plays for the event, including King Kong Goes Bananas and another called Carlotta and Maximillian, with a cast of 200, based around the story of the Hapsburgs in Mexico, complete with a full orchestra. Once more the festival, the productions and the projects Bakaitis developed were a major success in Adelaide, and received immense community support.
When the Whitlam Government was dismissed in 1975, Bakaitis decided the time had come to leave Australia. He enrolled for a postgraduate course with Dorothy Heathcote in Newcastle-upon-Tyne. He was shocked by the impoverished city children and depressed conditions in the region. Fortunately he found a basement to rent away from the damp inner city, in an old terrace house owned by the Duke of Northumberland near a park, a headland on which sat the ruins of Richard the Second’s castle and a cliff that dropped steeply away into the Tyne estuary.
Heathcote arranged for the students to work at a special school in Durham intensively for a month. The children suffered from all sorts of mental and physical disabilities and psychological conditions. Bakaitis was instantly drawn to an isolated young girl called Rosemary who had a hump, a deformed foot and facial abnormalities. When he approached her she spat at him but he persevered and encouraged her to dress up as Gary Glitter, her idol and play air guitar. The work with individuals and groups under Heathcote was transformative for Bakaitis, and he found the process of saying farewell to the children, who had come to trust in him, extremely difficult.
Through a series of connections Bakaitis met the actor Ian McKellen, Cicely Berry who was voice coach at the Royal Shakespeare Company and the artistic director, Trevor Nunn. Nunn invited Bakaitis to set up a youth theatre for the Royal Shakespeare Company, to be situated in Newcastle. Before the work began, he received another invitation to develop a youth theatre in Melbourne, fully funded by the Hamer Government. Initially Bakaitis rejected the offer because the theatre was to be housed in the old St Martins Theatre in the wealthy suburb of South Yarra. He negotiated a complete redevelopment of that theatre as a purpose-built space and an attractive salary. For the next six years Bakaitis developed the successful St Martins Youth Arts Centre and cultivated theatre for large casts of children and teenagers, often working on topical themes. Bakaitis facilitated the production of plays written by young people and performed by them. He had by this time built up his reputation for excellence in directing, developing and managing theatre for young people.
Early in his career Bakaitis appeared in episodes of Homicide (1967) where he played a car thief and says that the most useful thing he learned was how to break into cars. He also appeared in Division 4. Bakaitis was flabbergasted when the actor Leonard Teale advised him that ‘when you’re working on television, you don’t need to act. In fact, what I do is just learn my lines, and try to think about something else completely’. Bakaitis appeared in a television production of Romeo and Juliet and an adaptation for the ABC of Martin Boyd’s Outbreak of Love in 1981. But he found television drama unsatisfying compared to acting on stage. The lack of direction, fixation on the technical elements of the camera and shot angles and the lack of camaraderie amongst cast members frequently disappointed him. Bakaitis found the haphazardness of the process frustrating too: ‘Whereas on stage it was all negotiated and you knew what you were doing and why’, he told me.
Bakaitis wrote a script and produced a film with Jim Sharman, called Shirley Thompson Versus the Aliens, focusing on a milkbar and the strange characters who work in the River Caves at Luna Park. To save funds Bakaitis also appeared in the film. Bakaitis played in the touching comic film Stork (1971) with Bruce Spence, Jacki Weaver and Graham Blundell.
Some years later Bakaitis appeared in Home and Away in various episodes (1988, 1997, 1999). He found it easier to work in front of the multiple cameras than it had been earlier in his career, and the pay was more attractive; in fact he enjoyed some of the work. Since that time Bakaitis has appeared in many guest roles on television, including in the mini-series Howzat! Kerry Packer’s War in 2012 and Rake in 2016. But his heart is in the theatre.
Helmut Bakaitis in the short film Reg Makes Contact, 2015. Directed by Corrie Chen, Cinematography by Michael Latham.
New Moon
After six years developing the St Martins Youth Arts Centre Bakaitis began to suffer health problems. He was working too hard, contracted hepatitis and found the damp in Melbourne debilitating. Out of the blue a man by the name of Paul Iles invited him to direct the New Moon Theatre Company in far north Queensland. It seemed like the answer to his prayers: an opportunity to work in a warm climate. For the New Moon Theatre Company, he directed an innovative musical called Beach Blanket Tempest with John Paramor as a Prospero/Elvis figure. The plays Bakaitis directed were performed in Cairns, Townsville, Rockhampton and Mackay. Beach Blanket Tempest also toured to southern cities. Bakaitis directed Dario Fo’s hilarious play Trumpets and Raspberries, hoping the Italian population would appreciate it, but he underestimated their antipathy towards communism and they did not attend. He also directed On Our Selection, Guys and Dolls and a version of Agnes of God, featuring Diane Cilento.
Bakaitis developed youth theatre and offered mime workshops for community groups and presented residential workshops in mining towns, drawing on the physical training that had transformed him early in his career with George Ogilvie and the Lecoq methods. It was a tough couple of years in which Bakaitis faced the wrath of conservative Queenslanders. When he mounted a production of Williamson’s Don’s Party (a set text on the high school curriculum, and adapted by Henry Reynolds with approval from Williamson, with all swearing removed) there was an attempt to close the company. The truck that hauled all the props and equipment from theatre to theatre was frequently plastered with offensive messages. On one occasion Bakaitis found the following slogan emblazoned on the vehicle in black graffiti: ‘Southern queens with AIDS, go home’.
Sydney
Bakaitis returned to Sydney after his stint in north Queensland and worked in television and on stage. He appeared in the premiere of David Williamson’s Top Silk at the York Theatre in 1989, directed by Rodney Fisher, as part of a large cast that included Tina Bursill, John Howard, John Clayton, Simon Kay, Barbara Lowing, Vince Martin, Geoff Morrell and Leo Wockner.
Another opportunity presented itself – this time at the Q Theatre in Penrith - as Artistic Director. Wary of taking on roles that also required double duty as an administrator, Bakaitis negotiated a position that did not include administration. For the next ten years he ran the community theatre, offering a range of plays for mixed audiences including children. He built up the theatre for young people and The Theatre of the Third Age, with courses that involved observing live performance regularly. The older group also performed, with Bakaitis facilitating script development and all the other elements of building a production, as he had done with the children and youth for so many years.
At the Q Theatre Bakaitis directed a wide range of plays. The theatre itself, situated in western Sydney, is small, with a thrust stage providing simplicity and intimacy for cast and audience. Bakaitis directed a musical biography about the eccentric Sydney character Bee Miles, entitled Better Known as Bee (1992), featuring Toni Lamond in the title role. He directed Nick Enright’s comic play Daylight Saving (1993) with Ned Manning, Diana Davidson, Vanessa Downing, Darren Gilshanen and others, and designs by Jennie Tate, and Janis Balodis’ play Wet and Dry (1993). In 1994 Bakaitis directed Ron Haddrick, Judi Farr and Richard Healy in A Winning Day (1994). Bakaitis also invited George Ogilvie to direct productions at Q Theatre on a freelance basis. These productions made a major contribution to the theatre and the community, and included Twelfth Night (1991), King Lear (with Bakaitis as Lear) in 1995, and Nick Enright’s St James Infirmary Blues (1992) and The Quartet from Rigoletto (1995).
Theatre Artist
After eight years with Q Theatre Bakaitis took on the job of Head of the Directing Course at NIDA where he stayed for ten years, retiring in 2007. Bakaitis brought a wealth of experience to the position and he also brought the expertise of his associates such as George Ogilvie who could visit, and pass on his knowledge of so many areas of the theatre to the students.
Over the last few years, Bakaitis has taken life a little more slowly and enjoys some acting and teaching. He doesn’t chase acting work, loathes auditions and the despair they bring on, although he appeared in Titus Andronicus with the Australian Theatre for Young People in 2011 at the Wharf Theatre. Bakaitis teaches a film course at NIDA, appears regularly on television and works with Mark Denny in the drama program at Springwood High School.
As an actor Bakaitis has played in a variety of roles in innovative productions of Australian plays and has appeared in leading roles in productions of Shakespeare, Chekhov and Brecht. He has exceptional vocal range and a distinctive, rich voice. Bakaitis has brought extraordinary talent, energy, dynamism and understanding to youth and community theatre in Australia as a writer, teacher, director, artist and manager. Bakaitis has drawn on his training with George Ogilvie in Lecoq methods in many of his endeavours as well as his knowledge and expertise in the methods pioneered by Dorothy Heathcote. He is an extraordinary educator whose ability to write, act and direct have touched thousands of lives.
Footnotes
(1) The United Nations Relief and Rehabilitation Administration coordinated the camps for displaced persons after World War II.
(2) Jim Sharman, Blood and Tinsel: A Memoir, Melbourne: The Miegunyah Press, 2008, 85.
(3) Helmut Bakaitis, Foreword to George Ogilvie, Simple Gifts : A Life in Theatre, Sydney: Currency House, 2006, v.
(4) Bakaitis Foreword to George Ogilvie, Simple Gifts, v.
(5) George Ogilvie, Simple Gifts, 320.
(6) George Ogilvie, Simple Gifts, 178.
(7) Phillip Adams, The Bulletin, 25 May 1968, 75-6.
(8) Katharine Brisbane, The Australian, 10 May 1968, 8.
(9) George Ogilvie, Simple Gifts, 181.
(10) Helmut Bakaitis, The Incredible Mind-Blowing Trial of Jack Smith, South Yarra, Victoria: Heinemann Educational Australia Pty Ltd, 1973, iv-v.
(11) Sandra Hesten, Dorothy Heathcote Obituary, The Guardian, 18 November 2011 https://www.theguardian.com/education/2011/nov/17/dorothy-heathcote (retrieved 25 November 2016).
Image Credits
Header image: Helmut Bakaitis in the short film Reg Makes Contact, 2015. Directed by Corrie Chen, Cinematography by Michael Latham.
Image one: Helmut Baikaitis in Reg Makes Contact, 2015. Directed by Connie Chen. Photograph by Kate Disher-Quill.
Image two: Helmut Bakaitis in the short film Reg Makes Contact, 2015. Directed by Corrie Chen, Cinematography by Michael Latham.