Wilton Morley is an accomplished theatrical producer whose career helped shape the landscape of Australian commercial theatre throughout the 1970s and 1980s. Born into one of Britain’s most distinguished theatrical families—the son of celebrated actor Robert Morley and grandson of stage and screen legend Dame Gladys Cooper— he carried forward a remarkable artistic lineage while forging a distinct and influential career of his own.Morley began his professional journey with J.C. Williamson’s, the powerhouse of Austral...
Wilton Morley is an accomplished theatrical producer whose career helped shape the landscape of Australian commercial theatre throughout the 1970s and 1980s. Born into one of Britain’s most distinguished theatrical families—the son of celebrated actor Robert Morley and grandson of stage and screen legend Dame Gladys Cooper— he carried forward a remarkable artistic lineage while forging a distinct and influential career of his own.
Morley began his professional journey with J.C. Williamson’s, the powerhouse of Australian commercial theatre, where he gained a deep grounding in production, touring and company management. Over the following two decades, he became known for bringing high-profile international stars to Australian stages, nurturing major local talent, and producing works that ranged from intimate dramas to genre-defining musicals and theatrical sensations.
His first venture into producing, through his company Parachute productions, was Same Time, Next Year (1976) starring Lewis Fiander and Nancye Hayes.
Among his most prominent productions were the 1988 stagings of Blood Brothers, featuring Chrissie Amphlett, Russell Crowe and Peter Cousens; and Noel & Gertie with Geraldine Turner and Peter Carroll. He presented Paul Eddington in dual Terence Rattigan works, The Browning Version and Harlequinade, in both Melbourne and Sydney, and brought new energy to repeated seasons of The Rocky Horror Show, which enjoyed highly successful runs under his stewardship throughout the 1980s.
Morley showcased contemporary writing and emerging voices, producing works such as When I Was a Girl I Used to Scream and Shout, Crystal Clear, Pack of Lies, and established playwrights with Tom Stoppard’s The Real Thing, featuring John Bell and Jacki Weaver. His productions frequently attracted international performers of stature: the 1987 revival of Aren’t We All? starred Rex Harrison and Claudette Colbert, while Tennessee Williams’ Sweet Bird of Youth (1986) boasted a cast led by Lauren Bacall, Colin Friels and Frank Wilson.
He also nurtured landmark Australian performances, including multiple seasons of The Elocution of Benjamin Franklin with Gordon Chater, whom he later reunited in The Dresser, starring Warren Mitchell, Chater and Ruth Cracknell. Morley produced comedies, including Steaming, Noises Off, and Steptoe and Son Down Under, and presented Spike Milligan in An Alarmingly Funny Evening with Spike Milligan and Friends.
His interest in experimental and physical theatre led him to invest in Lindsay Kemp’s landmark works Flowers and The Dream, which travelled internationally and became emblematic of avant-garde theatre of the time. Flowers—inspired by Jean Genet and starring Kemp as Divine, became a global sensation despite (and sometimes because of) its controversial reputation.
Musicals formed a consistent thread in his career, including significant seasons of Little Shop of Horrors, My Fair Lady, and multiple tours of The Rocky Horror Show across Sydney, Melbourne, Perth and regional Australia.
Wilton Morley’s career is defined by bold artistic choices, the championing of both established and emerging talent, and a willingness to bring challenging, star-driven and commercially adventurous theatre to Australian audiences. He is a most extraordinary raconteur, fuelled from a two decade career that proved “there is no business like show business.” And it’s a delight to feature him in this riveting episode of the STAGES podcast.
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