Paul Robeson - the singer and the song

His 1960 tour is remembered for his appearance at the Sydney Opera House - but the tour was about so much more

Paul Robeson performing at the Sydney Opera House construction site 09/11/1960. Picture: State Library of NSW

Australians of a certain age know all about Paul Robeson’s magnificent voice. They know, too, that on a warm November day more than 60 years ago, the bass-baritone sang to 250 construction workers on the Sydney Opera House building site as the workers sat on scaffolding and stacks of timber and ate their lunch. Fewer know of Robeson’s pro-Communist and pro-Soviet views and of how those beliefs damaged his career at home and abroad. And that’s not so surprising – as historian Ann Curthoys points out, the Cold War suppression of Robeson’s career and memory has been very effective.

The Last Tour by Ann Curthoys

Recovering the story of a man who was once the most famous African-American in the world and his equally impressive wife, Eslanda, is the task Curthoys, who grew up in an Australian communist family in the 1950s and 60s, sets herself in a new book, The Last Tour: Paul and Eslanda Robeson’s visit to Australia and New Zealand.

It follows the couple’s tour – a mix of his concerts and their public talks and media interviews – to Australia and New Zealand over October, November and December 1960. Curthoys goes further, using the seven-week tour by this celebrated singer to explore the social and political changes just beginning in post-War Australia. Her interest is “the slow transition from the Cold War era of the late 1940s and 50s, to the 60s era of the New Left, new social movements and the demand for Aboriginal rights”.

Curthoys is 79 now, but when Robeson toured she was 15 and living in Newcastle, a city the singer did not visit. Her mother, Barbara Curthoys, a well-known activist and feminist, was a fan of the singer but the trip passed the teenager by.

It was only decades later, as she researched her 2002 book on the 1965 Aboriginal Freedom Ride through regional NSW, that Curthoys connected with the story. As a university student she had taken part in the ride and moved from communism to the New Left. When she approached the subject as a historian, she realised that for some riders, their attendance at Robeson’s concerts five years earlier had been a defining moment in their “understanding of racial discrimination and Aboriginal rights”.

'Deep Bells Ring', Singer Paul Robeson at The Opera House 1960 . Picture: Donald McPhedron/ Australian Photographic Agency .Picture: Supplied

Curthoys has had a long career in research and teaching at the Australian National University and the University of Technology, Sydney. She’s part of a remarkable family, and not just parents Barbara and Geoffrey, who was a lecturer in chemistry at Newcastle University. Her sister Jean is a leading feminist philosopher and her husband, John Docker, has written several books on cultural history, popular culture and the history of ideas.

Curthoys began researching The Last Tour in 2007, but put it aside for another project on Indigenous Australians before resuming work on it during the Covid-19 lockdowns. Post-­Robeson, she has worked with two scholars on a forthcoming book on the history of domestic violence in Australia.

The tour, she says, was really several tours rolled into one with the Robesons covering many bases – from music to Cold War politics to feminism to Aboriginal rights. It was a conservative era: Robert Menzies’ Liberals ruled federally and five of the six Australian states had conservative governments. Robeson’s presence went unremarked by governments but for fans of his music – and his ideals – the tour was a significant event that was well covered by the press, even those opposed to his views on the Soviet Union.

For some fans, it was a music tour – 20 concerts in nine cities in Australia and New Zealand, at which Robeson sang his show-stoppers, including Deep River, Go Down, Moses; We Are Climbing Jacob’s Ladder, and the song with which he is always identified, Ol’ Man River. The 62-year-old with the extraordinary voice also delivered “recitations” – a monologue from Shakespeare’s Othello, an anti-segregationist poem Freedom Train, and William Blake’s anthem, Jerusalem.

Paul Robeson performing at the Sydney Opera House construction site 09/11/1960. Picture: State Library of NSW

What a thrill for Australian audiences, some of whom had followed the handsome, 1.9m singer and actor since the 1920s. Even in an age of limited communications, Robeson was well-known here through films; records and radio. Curthoys notes that one indicator of his fame was the way promising Aboriginal singers in the 1930s were dubbed “Australia’s Paul Robeson”.

He was famous – and controversial. Unlike many other supporters of communist ideas, Robeson refused to break from the Soviets after the invasion of Hungary in 1958 and continued to defend Moscow. The “anti-communist repression and hysteria” that gripped the US in the McCarthy era had a profound effect on his life and career, Curthoys writes. He was cited in 1947 by the House Committee on Un-American Activities as “supporting the Communist Party and its front organisations”.

A 1949 US tour was destroyed “after mass cancelling of bookings by venue managers either vehemently opposed to his politics or afraid in such a hostile climate of being classed as communist sympathisers themselves”. Then in 1950, he lost his passport. Over the years, he would “become for communists an emblem of defiance in the face of adversity, and one of the communist world’s most prominent speakers for peace,” ­Curthoys writes.

Singer Paul Robeson arriving at Paddington Town Hall 10/11/1960. Picture: News Corp Australia

Unable to travel until his passport was restored in 1958, Robeson was steadfast in his support for communist ideals. That commitment was evident in Australia when the “peace tour” – built around a series of public meetings – was as important to the singer as the popular concerts where he reached a different audience. Curthoys details a related strand – the “workers’ tour”, which involved seven informal concert performances to groups of railway workers, waterside workers and those at work on the Opera House on that November day.

She says the events revealed much about the “the nature of class in Australia and New Zealand” at a time when “strong and confident trade unions” were interested in “broad cultural concerns”. Over several weeks Robeson attracted people who loved his music alongside those who loved his politics. Far from being shunned for his pro-Soviet views, Curthoys suggests, there was support from two different audiences – music people and “left-wing ­people who were either pro-Soviet or not”.

Even so, the Cold War anxieties over the Soviets meant a positive reception was not necessarily assured when Paul and Eslanda flew into Sydney at midday on Oct­ober 12, 1960. They were greeted by several hundred fans carrying peace banners but they faced pointed questions about the Soviet Union at the 20-minute press conference at the airport.

Robeson refused to condemn the suppression of the Hungarian uprising and media reports suggested a torrid exchange. Curthoys reviewed a tape of the press conference and says while the questioning was “a little aggressive”, the event was not as bad as reported in the media. Indeed it was “fairly friendly” albeit for a “bad patch” when Robeson refused to budge on Hungary.

That tape and others, along with newspapers and Trades Hall documentation, yielded rich material but so too did the ASIO files on the couple. At the Palace Hotel in Perth on December 2 an ASIO operative appeared to be among those at a reception organised by the communist-influenced Peace Council. Among guests were the writer (and well-known communist) Katharine Susannah Prichard and “two women by the name of Durack, who were writers and/or artists”.

Curthoys sees Robeson as a “very courageous, very intelligent, intellectual person, very thoughtful about music, about folk music, about people”, but says his commitment to the Soviet Union was a costly mistake. He had embraced Moscow when he and Eslanda visited in 1934 at the invitation of Soviet film director Sergei Eisenstein. Later, Robeson, a fluent Russian speaker, would say it was in the Soviet Union that he felt for the first time he was treated “not through the prism of race but simply as a human being”. Curthoys writes: “The excitement and validation he received during this visit would create a loyalty that later events would not dislodge and the public expression of which would damage him politically, commercially and professionally.”

The couple made several trips to the Soviet Union and accepted its political system completely. Curthoys notes: “They made no public comments about Stalin’s forced collectivisation policies that were in place during the 1930s and led to famine and the loss of millions of lives.” In Sydney Robeson was careful, but on November 5 he celebrated the forthcoming anniversary of the Russian Revolution at the Waterside Workers Federation in Sussex Street. Two days later, during his first public concert in the city, he paid tribute to the Soviet Union as “a new society”.

The Soviet Union had been a great influence but so too was the Spanish Civil War, which Curthoys says helped define his view of the political responsibilities of the artist.

“Increasingly famous as a public speaker, on 24 June, 1937, he made a huge impression at a mass rally at the Albert Hall in London sponsored by prominent figures such as WH Auden, EM Forster, Sean O’Casey, HG Wells and Virginia Woolf, held to raise financial aid for Basque child refugees from the war. In what became his most well-known and influential speech, he stressed how important it was for artists and scientists and others to take a political stand: ‘Every artist, every scientist, every writer must decide NOW where he stands. He has no alternative. There is no standing above the conflict on Olympian heights.’”

After World War II, Robeson was deeply involved in radical and anti-racism politics in the US but in 1947, as the Cold War worsened, he had had enough. He announced he intended to abandon the theatre and concert stage for two years to speak out against race hatred and ­prejudice. In fact he stopped stage acting for 12 years but continued to perform as a singer, often in support of political causes.

It was another 13 years before Australian audiences heard that glorious voice “live”. Australians, it seemed were primed for Paul. The tour may have been ignored by governments but during her research, Curthoys was “overwhelmed” by people “ready to assist, donating old programs, photographs, pamphlets, records, cassette tapes, invitations and other documents”.

Today, much of the Robeson image is defined by his Opera House performance on November 9 – high culture delivered, without condescension, to a building crew by a champion of the workers. Robeson, in a heavy coat, despite the warm weather, sang “from a rough concrete stage”. A PR expert could not have dreamt up a a better way to “democratise” an opera house than having the “first concert” delivered in its half- built shell. Curthoys shows how the event, no matter how memorialised now, was a small part of a tour that proved a financial and political success for the Robesons, who left Australia on December 4.

A few months later, depressed and exhausted, Robeson tried to commit suicide in Moscow. Over the next three years he was treated but could no longer perform or engage in public speaking. Curthoys notes that though his affairs with other women had strained their marriage, he and Eslanda had a common political vision and were together until her death in 1965. Robeson died on January 23, 1976 at the age of 77.

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