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The Storyline

By Jack Potter's story line for Wild Card, An Autobiography

Early chapters cover life in a country town, school days and entering NIDA. Following that are experiences working for JCW Theatres and, (in an appendix intended for a second volume, “Life in the Sixties in London”). 


Then 1975/6 working for Harry M. Miller and finally, but not least, the bulk of the book is taken up in recounting experiences travelling Australia in “the truck” (below), busking full stage plays, with two tons of staging and effects, enduring an actress who came on board, assuring us of her pristine character, but who was soon providing for every cowboy and ringer in Western Queensland, trapping us, (unable to lose her), thousands of miles from the coast,


Performing smart sophisticated humour under the stars to 800 testosterone stoked miners at Capella mine,travelling down a broken mountain road for miles near Alpha, overloaded with equipment, without brakes(!)


Later through a slurry covered mine site near Moura with a screaming broken manifold, swerving, drenched, and defying death (THERE’S A MOVIE IN THERE, somewhere)


Through to Weipa, Far North Queensland, against all odds, during the Aluminium activists’ confrontation, arriving unannounced, with $7.50 in my pocket, and three mouths to feed.


Back to Cooktown through a bushfire(!) with many gallons of fuel on top of the load, in plastic drums!


A trip to the Philippines to help an older lady regain her health, being molested by her, (she had my passport, and was paying the way!) thinking of England with my eyes closed.


Through the outback with only my wife and child enduring untold hardships and astonishing performance experiences, at one stage making it necessary to give the audience screwdrivers to remove the windows of the building, because too many people turned up.


Down through the mining Pilbara to Perth, and after relinquishing our “play repertoire”, continuing to perform across Australia with a revue style entertainment, memorizing the audience’s individual names(!) and incorporating each of them into the show. (I seldom take the easy way!)


Dealing with drug addicts, alcoholic musicians, who went wild during the performance, an aging Tivoli ex-performer who had had more facelifts and disappointments than she had had flagons of red.


Chartering a plane and coming down on the first two consecutive days in the Simpson Desert OUT OF FUEL with a maniac pilot who cut the tachometer, lost the keys to the plane, and taught us the value of prayer for 27 days, (ANOTHER MOVIE!)


Coming to learn how to extract the due “percentage” from the managers of the venues, even if it meant resorting to fisticuffs in the first interval of the performance, dealing with rapacious older women who did not take “no” for an answer, (and thus validating Congreve’s quote, “Hell hath no fury…”)


And rounding off with a speedy summary of the last few years performing, before retreating to WA to write the book.