This transcript is from an interview that was first published on 1st of December 2020. This transcript has been edited slightly to help with clarity, the audio of this episode and more information can be found here. This interview was conducted by Jacob Boehme.
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Jacob Boehme:
I started our yarn by asking Aunty Lil about the launch of her latest project, the Lillian Crombie School of Dance and drama, providing performing arts training for Aboriginal and Torres Strait Islander children in regional South Australia.
Lillian Crombie: [1:27]
When I was in Sydney, a lady - after my 2019 sharing the Lifetime Achievement Award with equity Foundation, a lady came up to me and said, why would you want to have a school when you've got NAISDA and Bangarra? And I said, Well, they don't cater for kids from five to 15, 16. So then afterwards, she sent an email out, and she's now sponsoring the Lillian Crombie School of Dance and drama. I thought at first ‘oh, this woman’ like this, until she sent that email and said she wants to sponsor it. So, from that day on that was good. And so now I've registered the school. And, and just recently had two weeks of dance workshops with the kids on a Sunday, because of my health reasons. And, and the kids just loved it. So the last Sunday, they apparently I heard one of the kids was crying as they were going home and was saying, I want to go back, you know, so because of that as well, I’m going to do something in the Christmas holidays. So next year, February, I actually want the kids to learn classical ballet because that's where they get their training from, like self-development, poise, discipline. So, they have to be serious if they want to do it, you know. And, anyway, so then I'd like to do the hip hop, the new thing that's happening, or an old thing, but you know, hip hop, classical ballet, modern, singing, drama, and the Aboriginal and Torres Strait Islander dancing as well. And, yeah, so that's, that's where I'm at, at the moment.
Jacob:
And so, what was the motivation because you've moved back to Port Pirie now ay? after many years of being away?
Lillian: [4:06]
Well, when I was a kid, when I came before I came to Sydney, when I was 16, 17. I actually wanted to have my own dance school and to have the ballet school on this property, but of course, nowadays that property's taken up so yeah, I think it's after that lady came up to me and said that, you know, and then after that it just all went different.
Jacob:
Yeah. Because that was your early start into dance, wasn't it? At the Port Pirie Ballet School. Was that your first introduction into dance - through ballet?
Lillian: [4:59]
Okay. A girl in my class, she was doing ballet in primary school and so I asked her if I can go she said, ‘You’ll have to ask your mum’. So asked me mum and she said Yes. Mum didn't know what she was getting herself in for but anyway, I'm thankful for her. So, I went to ballet school and my first time I went to the building to the church hall. I didn't realize they were having exams, nobody told mum. But anyway, I nearly walked in. And one of the examiners was actually shooing me off. Like, they should have locked the door. Anyway they were shooing me off. That's when we went around the corner and that's when mum and the teacher spoke, saying ‘No. It's exam day today. So no ballet school today.’ And I thought ‘Oh, Okay,’ so I was very eager then. So was mum, I think, probably want to get rid of me for the day. But yeah, so then I started doing ballet, doing the exams, and all of that, passed on a couple of them. One was highly commended. Then there's one that was honours, and then there was a pass. So I was quite happy about that.
Jacob: [6:32]
Because there's some great photos. I know, on your Facebook page, there's, you've been going down memory lane and there's some great photos of your early days at Port Pirie and you're studying as a ballet dancer, and there's also video there to ay?
Lillian: [6:52]
I think so. Yeah, I, you know, I've originally come back to Port Pirie, like four years. But I just moved into a place and I'm slowly unpacking. Right. And that's how I'm getting all these photos. So that's why ‘Oh, I might put that on Facebook.’ Yeah, but I'm saving some of those for my documentary, which is another story.
Jacob:
That's another story. So when you were doing ballet when you started ballet? Were you the only Aboriginal girl in the ballet class?
Lillian:
Yes, I was. I was the only Aboriginal girl.
Jacob:
How was that? Being the only Nunga in the in the class? Was that an easy road?
Lillian: [7:34]
Um, well, actually, that didn't bother me. Because my ballet teacher always said to us, girls, when you enter the class, you leave everything outside the door. And I've carried that. That wise lesson to when I came to Sydney, I'll leave everything outside the door and focus on whatever you're dealing with at that moment.
Jacob:
I have to say those are pretty wise words. Especially to get on in, in the industry that we're in. Now, a little birdie told me I think it might have been you actually, that when you were in your early years of study, that one of your early career aspirations was to be a ballet dancer for the Russian ballet. Was that true?
Lillian: [8:26]
That's correct. Yes. Yes. Um, mum gave me all these books. Ballet book, you know, the Princess books and that, I still got some here. That'll be shared with the kids now. And on it there was a story about Anna Pavlova, but in the kids book. And I remember, there's one picture like drawing animation where the little girls sitting, in the audience up on the top, looking at the dancers, and then when that focus with me, you know, seeing you know, ballerinas and I thought of me doing ballet. I thought this is great. I want to be a ballerina. So I wanted to go to Russia, because of Anna Pavlova. And then later because of Nureyev, but anyway, so when I started doing that, I was thinking about me not all the time, my ballet was focus because of my teacher what she said, but that those little books helped me as well. And I actually wanted to go to... Elaine has just come in , sorry.
Jacob:
Hey, Lainey, Say Hello to her there for me Aunt
Lillian:
Oh, Jacob said hello, Elaine. She’s going ‘What?’ Jacob said to say hello! Yep, she's waving. So, Ok where should I start back?
Jacob: [10:27]
Well, oh, you said the princess books. And that's all good. So how about we go from? Did you want to continue? Did you have another story about that one?
Lillian: [10:36]
Yeah. And because of that, of Anna Pavlova, and also Rudolph Nureyev, because it was in Russia, you know, these guys. And they studied there. And I really love Russian dancers, because they're so focused and so strong, because I'm thinking, maybe, of the country and all a dictatorship going on, but they, they go there, they have to do that. They're like soldiers, you know, but when I see them perform, and, you know I just like, I want to go there. I really want to go there. And to dance.
Jacob:
So, these are a couple of words that have come up in conversation so far. So, discipline, drive poise. They're all kind of drivers that have carried you through an entire career ay? So from Ballet, you end up in - from studying ballet in Port Pirie, you, as a young girl all of 16 end up in Sydney. How did that happen? And where did you go?
Lillian: [11:56]
I had a scholarship to go to Sydney to go to the Dance Concert Limited because Mrs. Walker she was the dance CEO and she actually had a company that was in character dancing, like from Russia, from Hungary, the Philippines, the Polish, Mexican, all of that. So just as well, I had the training of classical ballet. I could do all this. And still, you know, keep focus, you know, all the training that I had in Port Pirie. I was grateful for that. And that that's what Mrs Walker seen in me. I assume. And probably being the only black kid to maybe I don't know. Such I don't know if that was right or whatever. But anyway, so I went to Sydney
Jacob:
And Dance Concert Limited. Were they doing all kinds of different cultural dancing, but was that public performances as well as training?
Lillian: [13:22]
Yes, yes. It was a public. We went to schools mainly. And if there was any festivals, like the opening of Old Sydney Town, I was there. And because our group did the Maypole Dance. Oh, that was great. That was great. That was, you know, cuz I look back on it. And I say, ‘Yes, we were there for the big opening of all Sydney town.’ And that's up north of Sydney. That's pretty cool.
Jacob:
Yeah. And what year was that, that you were in Sydney with Dance Concert Limited?
Lillian:
Oh, Sydney would have been about 75. Yeah, start of 75
Jacob:
Start of 75 and around about the same year, same year wouldn't have been? That there was the infamous - now infamous - six-week course in dance and drama that was run by the National Black Theatre ay in Redfern.
Lillian: [14:19]
That was run by Old Black Theatre. Yes, yeah. Yeah.
Jacob:
How many of youse were there? There was you, I know there was you there
Lillian: [14:28]
Yeah there was, I mean, everybody came from all over Australia, the writers like playwrights, voice tuition, dance, drama, and that and that's where I first got connected with city Blackfellas. And I was in another world, which is a world that I'm in now, but going there my focus was on just dance because I was still with Dance Concert Limited. So they let me go off for six weeks. I don't know how I got to be there, but you know, I'm sure we'll find out. Anyway, so as I was going in, you know, we stayed at this hotel and we walk to the Old Black Theatre. When I go in, it's ‘Hello, everybody’ and all of this. And I was amazed that some of these Blackfellas that can speak out like, ‘Oh my goodness, like they're actually speaking their minds’, like this, you know? And kind of really straight out. Like one, Maureen Watson, you know, she passed, beautiful lady really gentle. And she would say, in this doco, right? Called Sunrise Awakening, Like, they’re actually speaking their minds like this, you know? And kind of really straight out. Like, well, Maureen Watson, you know, she pious, beautiful lady really gentle when? As she would say, in this taco. Alright. Cassandra is awakening? Yeah. And she would say, ‘Why is there no Blackfellas in their film crew? Why are there any?’ like this, where they should put in a little smile at the end of it, like, you know something about her being, you know, she could be a star, or something like this, you know. But anyway, if you see the documentary, Sunrise Awakening, then you'll see what she really said. But there are some others that were pretty straight out like, ‘Oh, my lord, this is? Wow.’ You know, I was bit shocked. I was very naïve. Yes.
Jacob: [17:18]
And was this the first time that you had been in a classroom of just young, driven, Blackfellas? A classroom all of Blackfellas?
Lillian:
Yeah, that's the first time, drama... And I felt okay. Actually, I feel good.
Jacob:
Yeah, of course you would. Because that would have just opened up a whole new world.
Lillian:
Oh, yeah. Oh, yeah, for sure. Sure.
Jacob:
Cuz there was one lecturer, I know you've spoken to me about privately before, Brian Syron’s class? Was it in that six-week class where you had an epiphany in terms of movement and drama and acting – it was something about the leaves falling on your hands, wasn't it?
Lillian: [18:05]
Oh, Yep. Yep, yep. Um, we all got to sit in a circle on our chairs. And the exercise was to – ah - so he picked me - the exercise was that we had to do something with, do some kind of movement with their hands and then as we're doing that, we then change to something else. And anyway, so what happened was, I didn't realise that I was actually talking about the time when I was taken away to be sexually abused by this man, right, in Adelaide. So I remember when I first walked with him, there was this, this tree and it had small leaves and it was like it was kind of flickering, like with the morning sun. And it was just beautiful. And I just looked at that. And anyway, so what happened, I imagined that I was feeling that leaf and that and I was just feeling and it was smooth, and then it would somehow change into me getting the thermometer or the lemon or something and put it in my mouth so It was like ‘Oh, sweet, you know, Acidy’. So that's when everybody had to follow me during that little exercise.
Jacob:
Wow, and that would have been a really kind of powerful experience in terms of How personal storytelling can you know influence and affect your choreography. The drama The - that would have been quite a potent and powerful experience for you ay
Lillian:
Yeah, because I haven't done drama or anything like that. And when we all you know, when we did the workshops, especially with Brian because he was so straight out, and in anyway he would say to us, he was teaching us this exercise. So we're all in a circle once again and we all had to stand up we had to move our body, you know, and our hips and everything. And I felt a little bit shame about that. But anyway, so I just moved myself around and he’s saying. He's saying ‘now I want you bring it down, and then out through your crutch’ like this and I was because I’d been a naïve girl. And I just looking around at everybody. But you know, we still did it.
Jacob:
Was this the seeding or the first seeds of planting the seeds of you becoming interested in drama and acting. Hey,
Lillian:
well, I didn't think of it like that. But yeah,
Jacob:
The following year in what ‘76 the Aboriginal Islander Dance Theatre was formed. with Carol Johnson there at the helm, ay.
Lillian: [21:33]
Yeah, it came out of it came out of the six weeks workshop. And so because I went back after the six weeks, I went back to Dance Concert Limited, so I stayed there. And I think it was about ‘76 finally went in there. But yeah, that's when I was moved into the dance, you know, the Aboriginal Islander Dance Theatre.
Jacob:
Yeah. Which is been extremely influential with pretty much you all, and that time, pretty much forged the pathway for a lot of Aboriginal Islander contemporary dance choreographers that are working and creating now so you were part of the original Aboriginal Islander Dance Theatre and I believe in ‘77. This is where you started to travel the world. Tell us about that then. IN ‘77 you went to the I think it was the first international show that AIDT did was at the second World Black and African Arts and Cultural Festival in Lagos, Nigeria. Is that right? Tell us about that.
Lillian: [22:56]
Yes, yeah. Wow, that was a bit of a shock. That was my first time ever I've been overseas. When we went there, we flew to Athens, Greece first, stayed overnight. And then then we flew across the Sahara Desert I was looking at and it was just amazing. It's such a big continent, you know, but it was bet four or five hours in the air just desert. I was thinkin’ hope this plane’s got petrol. Yeah, I'm a Blackfella. Yeah, but I won't be able to survive out in the desert. But anyway. So as we come in, trees are popping. So we're coming into going to vegetation, everything. And we landed. But my first thing when we was on Air Zaire, that was the plane. I don't know if it still exists or not. But that was the plane that took us to Lagos. There was all these Blackfellas as air hostess, pilots and everything. I thought, ‘Oh, okay. I didn't know that could exist.’ You know, bit naïve. So flew in and fine landed. And we looked outside you know, on the tarmac. And there’s all these Blackfellas, Blackfellas, Blackfellas, you know. And, yeah, that was a bit of a culture shock for me. And then we went to our accommodation of course. And it was like, Spot the whitefella, didn't see anything. True. But anyway that was something
Jacob:
Do you remember much about the dance piece or dance pieces that you would have performed at that festival?
Lillian: [24:47]
Yes, we did the Tent Embassy. And we danced on this, this huge big stage and there was us five dancers like me Roslyn Watson, Wayne Nicol, Richard Talonga and Michael Leslie. And we were dancing. And there was a crowd of about 2000 or more people in the, you know, in a in the auditorium. And that, that was overwhelming, to say the least. Mm hmm, but a great experience
Jacob:
Yeah, because AIDT were famous for, you know, making work that was political in nature, wasn't it? There were a lot of works that were not only lyrical and poetic, but also made real political statements about the, you know, Australia of that era.
Lillian: [25:51]
Yeah, yeah. Because the, the dances were all political, but for us just dancing. We were grown into it, like brown-skinned Baby, you know, I didn't know that became so much for me, then you had black deaths in custody and a few of those things that was happening in Australia, at that time, or even before. So Carol wanted to voice it out in dance, but we were just kids, I was a kid, you know, we just did it because I love dancing.
Jacob:
Can I ask you? Can I ask you a political question then? Like, you've mentioned, you know, dances that were made about brown-skin baby, the song and also the Tent Embassy, Black deaths in custody has much changed, do you reckon?
Lillian:
And has much changed? Did you say?
Jacob:
Yeah, has much changed in Australia direction for us Blackfellas
Lillian: [27:08]
I don't think it's changed. I mean, there's people slowly realising things, you know, but some people are doing something about it and some people don't want to get involved in that, you know, because they just want to have a peaceful life. And, you know, just go every day to day, gardening, shopping, bills, and, you know, and family. You know, that's what I believe that there are some people that is supportive, Now, of the Black struggle. And that, yeah,
Jacob:
Do you think then? It is? I mean, what do you think of current generations? You know, we've got a lot of different opportunity. You know, now, as you know, compared to back then, and of theatre makers, choreographers, dancers, do you think we need to be more political in the work that we create?
Lillian:
Do we need to be political?
Jacob:
Yeah, this new, you know, current generations and future generations of Blackfella theatre makers, choreographers, do you think we need to continue to be political in the work we make? Or is it inherently being a Blackfella, anything that you make is going to be political anyway?
Lillian: [28:33]
Well, the thing is, in my thinking, is, in my thoughts, is because of what I've learnt and that you know, because it is important, and it's about it's about the creative side for the choreographer, if they wish to do that, you know, they can, you know, do that. But if it's like, with kids or something maybe that would be a different story, because, but obviously, further down the track, there will be some things like when I was 16-17, when I was first introduced to, you know, Blackfella stuff, you know, I was around with all the Black activists around that time, you know, and I like, and at first I was a little bit shocked. I might add, but, but afterwards I thought, ‘wow, they're saying what they're thinking’, you know, so I'd like to do that, but it was a bit further down the track.
Jacob:
Yeah. So you start traveling overseas with AIDT, you start getting international experience. Soon after that, you go from joining Dance Concert Limited to then - or leaving Dance Concert Limited rather to then studying at the newly formed National Aboriginal Islander Skills Development Association, which Carol Johnson had set up, which was the Australia's, which is still Australia's longest running dance training institute for Blackfellas. You were there a part of the early days with NAISDA too ay
Lillian:
Yes. Or AIDT and early days of NAISDA, I don't know when that name changed. So I could have been there or I couldn't have been there.
Jacob:
It was the 70s, ay
Lillian:
Yes, somewhere back then.
Jacob:
But then you also through that training, you end up doing a secondment with the Alvin Ailey American Dance Theater. What year did you go train with Alvin Ailey?
Lillian: [30:57]
After NAISDA, or AIDT, I put in funding to DEET, back in the early days. Think department, education something rather title. So I put in for this for this scholarship. So then I had to go into the Australia Council or somewhere I can't remember. And then then I got it. But I thought I'd take six months because I might get homesick. It was a 12-month scholarship right? So I took six months because I might get all homesick and all of that. So when I went there it was - So every second person was Blackfella. Right, you know, as I'm walking in the streets of New York, and Alvin Ailey..um...So when I got there, it was the last week of the blizzard, snow. And I've never seen snow in my whole life. And they had these huge big windows, where you still do the dancing exercise, whatever and I stopped and I was looking at the snow falling and yeah, I freaked out. I freaked out of the snow. Cuz I didn't. I mean, I knew what it was. But I was quite, I'm not used to that. So I remember as I was walking around, you know, the gutter apart and all that. slush. What do they call it? That kind of banked up in the gutter. And I was like, you know, maybe with my feet, my shoes and just looking out and seeing all this snow and everything, you know. And then, of course, one. dance colleague, him and his girlfriend though walking on. And anyway, he's saying, ‘Hey, you virgin!’ like this, you know? Because virgin for the first time that I've seen snow? Yeah. And I'll remember that. That was quite funny, I thought. But anyway, these things happen. Experience, life experience. That's good.
Jacob:
So what was it about your time with Alvin Ailey? What did you learn there that you couldn't have learned at home?
Lillian: [33:42]
I think because it at that kind of professional standard. And, and being there, you know, it's been a long time being there and had all these teachers, where they work really hard, which I really liked. And that because it kept me - but I was still a little bit young in doing all those dances they did they were more kind of stronger, and you know, because they probably go to class all the time. But that's when I went in. This was like, you know, it's like a big world in their dance studio. And so everything happened in that studio. And I was doing the dancing and doing the exercise and all of that. So that was pretty cool.
Jacob:
Did you get to perform with the Alvin Ailey company, or did you see were they in rep, were they doing shows at the time that you were over there training with them?
Lillian:
No, I was just a student and I didn't do any performing. But we went and seen one girl who's in the company. So all Alvin Ailey students can go in for nothing. So, as we out at the club Studio Studio 58 or I think it's 54. It was the most famous club. I forget the name, I think Studio 54.
Jacob:
Were you clubbin in Studio 54? Did you go to that club?
Lillian:
Yes, Me and Michael Leslie and all the other dancers from Alvin Ailey. So we got in for free. Everybody was, you know, lined up, you know, but we got him because they got those heavy bouncers and stuff like that, you know? So anyway, but we thought, Oh, this is cool. Just going straight in. Anyway, so the studio was like, really, it was, you know, he had things coming down from the ceiling and lights and everything. And we had one of the dancers, dancing, and I Pretty cool.
Jacob: [35:57]
Brilliant. So, Alvin Ailey, like you've - there's so much to cover in your career, but I’d like to because you end up then, you know, having an extraordinary career in television, in film, and in theatre. But there's also one part of your career that I find fascinating. I was hoping you would speak to us about that. It's because I heard through the grapevine, and it's been, you know - I never got to see it, but you were a drag king and a drag queen at some stage in your career weren’t you?
Lillian: [36:42]
Yes, that grapevine is very strong and ripe, isn't it?
Jacob:
Yes. And I never got to say those shows. But how did you - cuz it sounds like a bit Victor Victoria. You know, the Julie Andrews film, you know, a woman pretending to be a man pretending to be a woman.
Lillian:
I’ve never seen that movie, but I've heard about it. Yeah.
Jacob:
How did you end up in that kind of scene? How did you end up doing all of that?
Lillian:
Yeah. I know, that was weird. When there was - I had to do something for the Nambunda [?] Festival at Belvoir Street Theatre. You know. And so when I'm, you know, asked Stephen Page from Bangarra, to do me choreography for that, you know, and then somehow, Stephen got in on it, too, with Bangarra. So, we're all doing this 70s and 80s songs, you know, like, can’t think of it, Carwash, and I was doing the carwash scene with the boys, you know, all the boys from Bangarra so it was really cool. And, and then we all dressed up, you know, I had the long wig. You know being the girl and that chucking me around here and there. I don’t think I could do it now but anyway. And then. And then we had these other things. Me and David Page, and Marlene Cummins. So we all did this one, dance. So it was quite funny. What was that song? Oh, I must be getting old. I can't think of it.
Jacob:
Because you were a Drag King...
Lillian: 38:39
...Big Fat Woman. ‘Hey, no dancing with no Big Fat Woman.’ You know, I don't know if I’m singing it right. I should get my daughter. But anyway, So we're doing that. And the girls, you know, the little tiny little things made me sick. Seeing their little, you know, they're in those little gold, shiny shorts. You know, all of them were in there. I wish I could, I probably wear it as a hat. But yeah, so that was so it really kind of started from there, I think. Hmm. And then because with the acting came into it too, you know, when I did the dancing at AIDT you know, for the end of the show, you know, somehow that's when Keith Bain, which we'll talk about afterwards and invited me to NIDA. But anyway, and that's when I was doing all these drag shows and people liked what I did. And I thought, oh, okay, so it's about performing. But performing with you know, there was a bit of comedy because I always used to clown around as a kid. And then it came into acting so I thought ‘Yeah. Why not? You know, it'll make people laugh and be happy to see this woman who’s got no shame, dancing, and then she would be dancing as a man.’ Because me and David we hosted one Yabun concert you know, and he was ‘Tina’ because he had the deadliest legs and the skinniest body and I you know, I played 'Ike’. So I don't know if that's recorded or not but anyway, that was me and David and then we just kept on doing drag shows ever since. And then my cousin Jasmine, she's a really tall girl. And her and I did the drag act - so we’d do it for community events, you know, for the opening of something, you know, or did one about Elvis. Me being Elvis and I was the only one at the NAIDOC Ball doing all my quick changes while the music, thanks to David, was putting the music on. You know, for me to have a quick change from one character to another. It was quite funny. There was Clary Clue. There was somebody else I can't remember. But that was my main one. Clary Clue. And ‘Ike’ I was I don't know because of that acting. It made me be that person.
Jacob Boehme
Yeah, 'cause it would have been a good amalgamation of what - your clowning, your acting, your dancing – it all kind of comes in.
Lillian Crombie
Yes, I know, yeah.
Jacob Boehme
Cause you were also there again as well as part of this also happens around the same time in the 80s when you're invited you know to Mardi Gras events. You know when blackfellas start getting in on Mardi Gras parades and then also the early AIDS response to where you were performing for the luncheons there too.
Lillian Crombie
Yes, yeah. Because Malcolm, he was one of our dance friends, colleagues and him being a straight out Gay person you just he didn’t care what people thought you know, and that's what I liked about that, you know, no need to feel ashamed of or anything like that. You know? So when, because back in the early days, that's when. The Mardi Gras. I think it started in 1978, and that's when we're already. You know the, school was already into it by then and that's when Malcolm he went there. I don't know if he went to the writing and stuff like that he probably would have but, and that's when it finally came to the stage where it's the Mardi Gras, the floats. And that's when Malcolm was part of that. Malcolm Cole was a part of the first blackfella float, yeah?
Jacob Boehme
And I think like you were saying before, that was the one where they dressed up as Captain Cook or something.
Lillian Crombie
Yeah, you know, yeah, I wasn't there for that one.
Jacob Boehme
But you were there the following one and all of that.
Lillian Crombie
Yeah but I know further down the track I was in the Mardi Gras
Jacob Boehme
And then doing those performances and all those drags - the drag performances and stuff you have then asked by Malcolm - was it Malcolm that asked you to come and do it for the luncheons for people living with HIV and AIDS
Lillian Crombie
It was another Malcolm 'cause his partner was, um at the Dance Theatre and so word must have got around. Um, because the first one was me and David, did - I mean the luncheon club kept going on. But I'm saying with me and David Page, we went there and we did our little routine that we did at the at the Nambunda [?] Festival. Yeah, I think that was Marlene Cummins really but yeah. So that's when we did it there at the lunch club. Then we invited other people 'cause they had a It was a NAIDOC celebration or reconciliation, something important, and the luncheon club is for people living with and affected with AIDS and so I was part of that and I was a carer for one friend of mine who was affected with AIDS.
Jacob Boehme
Gee Aunt, your career with dance, with film, with television, the places you've been, the people that you've met and trained with along the way. You've really - I don't know whether it had the fortune of seeing the world shift and change in so many different ways. You know with COVID going on at the moment and with the Cultural Revolution that we're seeing both in the United States and as well as the rest of the world with Black Lives Matter. What do you see? Or what do you hope for our future?
Lillian Crombie [46:02]
Well, um, when COVID came along there was a couple of friends who was little bit frightened about it. You know they would talk to me and I would say don't worry bout that. You know we've been through. Uh, all these things that goes around the world like whooping cough like you know Vietnam War, Afghanistan, the AIDS epidemic and what's the other one there was anyway, there was a lot of those things. I was just telling people. Uh, so don't worry about it. It's going to pass through you just gotta take care of yourself, you know and It'll be OK. And I knew because of my belief in the Lord and my ancestors. I knew they were protecting me or us and I knew in that spiritual realm that that it was gonna be OK, because you know which is going through another one of these phases in in life challenges, so that's our challenge and that so during that time when I felt that people may have been bit frightened, I said to them Don't be afraid, something I said on Facebook and I said now you've got this time - Um, work on your dreams. And that's when I was working on with the dance school. Yeah, to work on that 'cause we still got. We still got technology and all of that, you know, to an keep us. Um, communicating with the world? Yeah, and now. So that's what. Just why, if anything, comes up like this, you know you just. Have to um go with it. You know, don't you know be frightened or anything. Yeah, of course you get frightened when you see the bill – I suppose - the electricity bill. That's where you get frightened.
Jacob Boehme [48:27]
Exactly, that's a good. That's a good one to kind of wrap up on talking about dreams and focusing on dreams so come full circle you back at Port Pirie. You've got the Lillian Crombie School of Dance and Drama. What is your big dream for the school for the future of that school and those kids?
Lillian Crombie
Well for the kids. I really want them to have the same experience as I as I have and I want the kids to if they do love whatever they do, be a fireman, dancer, policeman, whatever. They get up to you just don't give up on your love because it's your life. You know it's about living it. It's about experiencing it and um, yeah an I think that's why when I went to NIDA that that brought the acting out of me more. I honed it and owned it and with dancing, I danced it, dancing gave me that. The, um, what do you call it? Emotional side of whatever. Yeah 'cause I love dancing then acting. I didn't want to act because of my stuttering had a very bad stutter as a kid but acting threw me - I went and did an audition for Mereki the Peacemaker for the Towtruck Theatre. So I thought Oh, I’ll just have a go at it, you know, see what happens and I've got the bloody thing, didn't I? So I thought Oh my goodness, I stutter. Uh, OK, so when just before I go onstage I'll be nervous as hell. People get butterflies, but mine was filling the room out. If you know what I mean with butterflies and then because that gave me a voice finally. There's a couple of times I kind of froze up and, but I put that into as acting. Because when my ballet teacher, she said, whenever you make a mistake on stage, make it big. So I did. Made it big, so I didn't say oh I forgot the words, but was you know and I just - because people there are buying, you know tickets stuff you gotta go with it. I guess that's with life you know you just go with it. You know I jumped in the deep end with acting because of my stuttering. I thought Bloody hell. So now it's I'm OK. I'm OK, so thanks to dancing. Thanks to acting. Keith Bain is the main one for that. And Mrs Walker and my teacher. Glad King or Glad Peck and my foster parents, mum and dad especially Mum. And that she sewed up all these costume is all glitter and stuff on the floor in my bedroom, 'cause she's busily sewing all about 75 hats for the school. But anyway bless her, I still got it too. It's in my wardrobe, but Yep, and I think that's with anybody. If they think that people have walked all over them Um you just don’t give up. Your life is not theirs, so you're the one that's the captain of the ship. You know you are. You're the one that steering it left, right wherever you wanna go, whichever, country, whatever. I could go on and on and on, yeah, but you get the drift.
Jacob Boehme
Yeah, good wise words
Lillian Crombie
And I'm enjoying it. I'm thoroughly enjoying it. I'm glad I come home. Uh, because in Sydney. It was good. I was busting to go home and then Australia came. I thought wow that's why I had to stay just a little bit longer because Australia.
Jacob Boehme
Oh, the film.
Lillian Crombie
Felt like a glove being in Australia working on the set. It just I felt yes. This glove fits for sure.
Jacob Boehme
And that did you wanna talk about that for a little to? How the how the experience was working in Australia working with Baz 'cause wasn't didn't you meet Baz, you first met at NIDA?
Lillian Crombie
Yep 1983 Yep Yep. He was in my class. And then I didn't know that. First I heard he was doing something was with the Australian Opera. He was directing that, so he must have done some directing somewhere and when I seen it on the big poster and it said his name, you know, La Boheme, it was anyway. So I called up Australian opera. Can I speak with Baz please, you know. They just put me through to Baz and I said Baz I just wanted to say congratulations. I'm so proud of you and you know and hope you're doing this so anyway. Then after I will see you later and that never contacted much until my nephew was out partying down Oxford Street he called at 1:00 o'clock in the morning. I don't know what made him think that I was still up watching TV, you know, 'cause I was watching TV. You know, watching Late night movies. I answered and he said, oh God, oh there's a fellow. He's saying that he's gonna be in this movie with at that time It was Russell Crowe and also Nicole Kidman, you know. But of course there was a couple of changes as they came along. That's why we had Hugh Jackman anyway. So that Monday I don't know why I'm calling up Baz. So I just called up, you know, an 'course he wasn't working at an Australian opera then. Somehow I called the casting agent then somehow went to as a secretary whatever. And I said, I hear you doing a movie I wanna be in on that please you know so I called up the next day and they said, oh, we've let Baz now and I said, oh great that's good. He said to say hello to you know oh thank you that's good we better give me their job. I didn't say that no kind of, but no, not really. But anyway, as we going along, I think a week later or something or two weeks whenever. And they said because we had contacted each other. The lady from casting agents can't remember now? Sorry. So they said you're shortlisted. And I said, really so it's me and somebody else. But found out after that there was nobody else. It was just me. I was wondering why they never asked me for my CV. You know, 'cause that's what you usually do. So they could see your work and obviously Baz already knew my work. So that was good, so I'm happy about that. That's how we got to connect again on the film of Australia, yeah. Yeah, and working on that I felt quite at home actually. So I need more of these films because all the plays and theater work and short films and that that was preparing me for Australia. So there has to be another one coming up. And because of my health. My dialysis on the machines and stuff that that's something else well. Uh, I thought I'd come home and watch the daisies grow. You know, I thought I'd just, that's it now. But when doctor Stephen McDonald from the Renal at the Royal Adelaide Hospital, word got around. I was in Australia anyway, So what happened when they came to check in on all their patients, so him and his team was, you know, standing at the foot of my bed. And said, um, you need to still do acting and working around your dialysis. I was like there’s hope now. There's hope I can get back oh great. So I just had to get used to this dialysis business. You know, my kidneys and all of that. Uh, so the next person was when I finally came back home, Actually I was going back and forth to the Royal Adelaide and flying me on the Royal Flying Doctor Service. That was lovely, bumpy but lovely. Got me there. So I was at this meeting and somebody come up to me and said, oh because they knew that I was in Australia. You should watch Australian story and I said why? And they said cause its Jack Thompsons on there and I said really Uncle Jack. Oh great alright then. So I couldn't find it so I googled it and there was, as I was watching. Then it told me he said that his life at changed, him and his son were talking and I don't know what he was talking about. Then next minute I found out he was on dialysis. He had kidney failure. I didn't know that. So we're both in the same same business here. Uh, but he was working. He was still working while he was on dialysis. Well that was another hope for me yes yeah oh I can freaking do it I will and I'm going to and that's it. You can't stop me now I'm not retiring as people saying all the time you retire you gonna know I don't know that frickin word at all. I don't know retiring nothing no? So I’m doing my school. This is what keeps me going and my family. Families are strong. I know we’re always arguing carry on with each other but we always there to support each other, yeah.
Jacob Boehme
Oh, that's so inspiring. Aunty Lil. So what are we going to see you in next ay? Who they contact - It will be a surprise. Yep, Yep, or just such an inspiration to all of us. Thank you for yarning with us today...
Lillian Crombie
I'm creating also a documentary I want to do that. On my life and hopefully a book. Yeah, when I do book and also wait for it. I want to do a feature film on my life because coming back from the Bush as a kid and that. I wanna do that.
Jacob Boehme
Yeah, who do you want to produce it? Who do you want to direct it? Who do you want to write it?
Lillian Crombie
Oh well, what? The feature oh I got somebody but I won't say. I'll tell you in secret not public public
Jacob Boehme
Yeah, oh, deadly
Lillian Crombie
So I'll call you after this yeah. And to tell you about it. OK, it's what I first thought about. Yep
Jacob Boehme
your life has been extraordinary, Auntie I'd love to see that on film. It would be brilliant.
Lillian Crombie
Oh yes I've got a lot to tell. yes yes yes! yes yes yes! No Holds Barred mate? Of course I'll keep to myself not sharing everything with you. Gee Whizz.
Jacob Boehme
Well, thank you for yarning with me this morning.
Lillian Crombie
No, thank you very much for this opportunity. I thoroughly enjoyed it. Thank you very much really. And then thanks everybody for listening in on my story and that you know, hope you've learned something.
