Rex Roy Cramphorn (sometimes identified by the variant Cramphorne) (10 January 194122 November 1991) was an Australian theatre director, playwright, costume designer, theatre critic, theorist and translator, active in the 1970s and 1980s. additional he also served as an assistant stage manager and lighting and set designer.

Freelance director and theatre critic Cramphorn was one of a generation of theatre directors who emerged in Australia in the 1960s. He aspired to establish a permanent Australian performance ensemble, multi-skilled and committed, such as had been done by the Polish theatre director Jerzy Grotowski with whom he worked for a time, but there was not the audience, the assured funding nor the interest in Cramphorn's preference for non-commercial projects to achieve this.

As a freelance director he was involved in some 55 theatre productions around Australia in the 1970s and 1980s. He was resident director at Melbourne's Playbox Theatre in the early 1980s.

The best of Cramphorn's theatre productions were said to be the equal of any Grotowski production; in others it was evident that Cramphorn seemed to demand almost as much of his audience as he did of his players.Louis Nowra, in Maxwell, Ian (Ed.), Raffish Experiment, A, 2009, p 335 In a 1973 interview, Cramphorn described the kind of productions he hoped to create:

As a theatre critic during the early 1970s, Cramphorn contributed 110 theatre reviews to several newspapers.Ian Maxwell,(ed.) Raffish Experiment, A, 2009 In these forthright, uncompromising and scholarly reviews, Cramphorn indicated initially that there was little that pleased him in the Sydney theatre scene, a view summarised by his metaphor "a withering mistletoe on our gum-tree culture".Rex Cramphorn, The Bulletin, 3 January 1970 He hailed, however, the emergence of new talents such at Louis Nowra and John Bell.

Costume designer Cramphorn designed the costumes for the musical Jesus Christ Superstar and many of his own productions. One of Cramphorn's earliest projects was at the 1968 Festival of Perth, where he designed the costumes for Aarne Neeme and Philip Parsons’ production of Richard III at the New Fortune Theatre (University of Western Australia).

Personal life Cramphorn was born in Brisbane, Australia and attended Brisbane Boys' College. His tertiary education was at the University of New South Wales: MA in Drama, University of Queensland: BA Hons in French and English studies, graduate of the National Institute of Dramatic Art: 1967 (named as Cramphorne) and the Australian Film TV and Radio school.

Many men and women fell for Cramphorn.David Malouf in Maxwell, Ian (ed,), Raffish Experiment, A, 2009, iiiJudith C Green, in Four Poets, Cheshire, 1962, The Boy in the Green GownJim Sharman, Blood & Tinsel: A Memoir, 2008, p 158Kate Fitzpatrick, Name Dropping, 2004, facing p 262William Yang, My Generation, Documentary Film, 2013 His capacity for empathising with actors, encyclopaedic knowledge especially of all things French, and "large pocket-Adonis" good looksKate Fitzpatrick, Name Dropping, 2004, p 144 prompted many to seek his personal commitment. Most remained his friends, however, long after he had persuaded them, gently, that they could be no more than that. At age 20 he inspired a poem containing this stanza:

You may love the boy and lay him naked across your knees and kiss him and make him laugh but it isn't you he seesJudith C Green in Four Poets, Cheshire, 1962, The Boy in the Green Gown

Death and commemoration Cramphorn died in Sydney, 22 November 1991 of AIDS related causes, aged 50. Glowing tributes and obituary notices began to appear, in contrast to the faltering recognition Cramphorn had received in life. In them may be read assessments such as:

this most intelligent, gentle and well-read of Australian directors the only real philosopher the Australian theatre has producedKatharine Brisbane, in The Australian, 28 November 2011 Australian theatre has lost one of its most challenging and sensitive talentsSydney Morning Herald, 23 November 1991, p 11, obituary that rare and important figure, a philosopher and visionary of the artsNick Enright, Rex Cramphorn Lecture 2002 the most formally innovative director this country has ever producedJames Waites, Theatre Reviews, 27 January 2013 the most original director of his generation, and certainly the most rigorous and uncompromising. I had the pleasure of working with Rex on several projects and will certainly add to this tribute.John Bell, letter to John Austin, 13 August 2014

Among Cramphorn's effects were thirty boxes of papers which he bequeathed to the Department of Performance Studies at the University of Sydney.Ian Maxwell, (ed.), Raffish Experiment, A, 2009, p 3 Selections from this archive form the basis for Associate Professor Ian Maxwell's publication A Raffish Experiment – The Selected Writings of Rex Cramphorn published by Currency Press in 2009.

A biennial $30,000 Rex Cramphorn Theatre Scholarship has been established by the New South Wales Government. and the Australian Film TV and Radio school. An annual series of Rex Cramphorn lectures – a memorial set up by his friends and colleagues - was begun in 1995, Jim Sharman giving the first lecture.Jim Sharman, Blood & Tinsel: A Memoir, 2008, p 157

A studio in the University of Sydney's Centre for Performance Studies has been named in his honour (popularly known as "The Rex").Ian Maxwell, (ed.), Raffish Experiment, A, 2009, p 5

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