Peter Goers returns to the stage

Interview by Olivia Williams

The broadcaster, columnist and all-round cultural treasure is reprising his role as Elwood P. Dowd in the feel-good favourite HARVEY, invisible rabbit and all. Between his trademark dry humour, deep affection for Holden Street Theatres, and his philosophy that “work is more fun than fun”, Goers proves that Adelaide’s arts scene is in very good, and very funny, hands.

Returning to the role of Elwood P. Dowd after more than two decades was never a question of time passed, he says. “I love the play and the part. He is a mystic, a kind man who sees the good in all and loves his best friend, Harvey, a six-foot-tall white rabbit visible only to him.” It’s a character that demands charm, warmth, and a playful suspension of disbelief, all qualities Goers has cultivated both on and off the stage.

A man in a hat and suit sits on a chair, casting a shadow of a rabbit on the ground beside him.

HARVEY is a whimsical classic, performed thousands of times around the world. For Goers, the magic lies in the laughter and the gentle reminder to be oneself.

The play warms the cockles of the heart and reminds us of the value of being oneself. As Quentin Crisp opined, ‘Don’t try and keep up with the Joneses, drag them down to your own level.’

It’s an uplifting experience, a story that embraces kindness and joy without ever feeling saccharine, a rare balance that Goers treasures.

The Adelaide production brings together a carefully chosen local cast under the guidance of director Rosie Aust. “I picked them! And I chose a wonderful director for the show, Rosie Aust,” he says simply. His investment in the ensemble goes beyond casting; it reflects a genuine belief in nurturing local talent and giving audiences the chance to connect with performers they might see again in other productions.

Goers’ experience across multiple media, from radio to print, informs his stage work, yet he stresses the unique energy of live performance. “Well, an audience is an audience in any medium but performing on stage is the ultimate. I’ve played myself endlessly, so playing someone else is a holiday from oneself. It’s also terrifying and very challenging.” There is a freedom in assuming a different identity, but also a vulnerability; every performance demands engagement, improvisation, and presence.

Holden Street Theatres has been central to Goers’ theatrical journey. He reflects on the importance of a strong local theatre scene: “[It’s] crucial. Martha Lott’s Holden Street Theatres is very special to me. I chose, directed and appeared in the very first production at Holden Street and have performed ten (reasonably different) Fringe shows there and directed four others. I’m finishing as Resident Director and have directed five shows there recently all featuring the brilliant Martha Lott. Her theatres and her talent are invaluable, and I’ve been thrilled to feature her extraordinary ability as an actor and direct plays I’ve long wanted to tackle. I’m very lucky.”

During his three-year tenure as Director in Residence, Goers found the most rewarding aspect to be the collaborative nature of theatre-making. “Trying to please audiences and working with Martha Lott and all other actors plus technicians, staff and volunteers,” he says, is a reminder that theatre is never a solitary pursuit; it thrives on connection, creativity, and shared energy.

Perhaps the most endearing element of HARVEY is the titular invisible rabbit. For Goers, Elwood’s friend has become more than a character, he’s a companion. “I begin to think Harvey is real and I’ve been talking to him all these years since I first met him in 2001. He is part of me.”

Outside of performing, Goers is a devoted participant in Adelaide’s arts and culture scene. “As often as possible. I see lots of theatre and go to lots of art shows. And I write about it all, publicly and privately.” His engagement isn’t limited to professional duties; it’s a personal passion, a way to remain connected to the city that has nurtured his career.

Adelaide’s arts landscape has changed considerably over the years, and Goers notes developments that have surprised and excited him. “Brilliant new actors, directors and plays. It pleases me most that the respect for senior artists continues to grow. The increasing costs of producing plays is very challenging and surprising, sadly.”

Sustaining motivation in a long career can be difficult, yet Goers credits the people around him.

Others inspire me. I love to work because work is more fun than fun. I love an audience and I’m very grateful to any audience and to those who give me opportunities to work.

Goers’ love for Adelaide is matched by a deep respect for its artists and institutions. Memorable moments remain close to his heart: performing with the late Phyl Skinner, Australia’s last vaudevillian, on the final night of the old Her Majesty’s Theatre, and working with his late friend Barry Humphries, someone he profoundly admired.

In HARVEY, Peter Goers isn’t just reprising a role; he’s revisiting a world that celebrates kindness, imagination, and the joy of being unapologetically oneself. For audiences, there’s laughter, warmth, and a reminder that theatre remains one of life’s most magical spaces, especially when guided by someone who believes, as he does, that work is truly more fun than fun.

PETER’S PICKS

Favourite coffee spot: Anywhere, but I’m happy with instant coffee.

Best local lunch spot: Vili’s Cafe, Adelaide’s best restaurant.

Favourite restaurant for a special night out: Vili’s Cafe or Barnacle Bill’s.

A book, play, or performance that inspired you recently: Follies (Sondheim, Melbourne), Sam Mannix’s acting at Northern Light Theatre Company, my cast in Who’s Afraid of Virginia Woolf?, and Adelaide actor/singer Catherine Campbell, one of the most considerate and kind people I know.

One Adelaide hidden gem most people don’t know about: My sex life!

Best Adelaide city view: Flying home.

Favourite shop or boutique in the CBD: All bookshops and the Vinnie’s on Wakefield Street.