SCUNA history » Groups with a link to SCUNA » The University Consort » Performances » King Arthur
The University Consort, with SCUNA ring-ins Ken Healey, Brian Hingerty, Ann May, and Alan Behm, provided the chorus and some of the soloists for this joint production.
If Hollywood had existed at the end of the 17th century, King Arthur would certainly have been a smash-hit film.
The postgraduate drama group Stage will present the Australian premiere of this work at Childrers [sic] Street Hall from September 24 to 27.
The play is by John Dryden, and the music by Henry Purcell.
Purcell is regarded as one of the founders of opera as it is known today.
In King Arthur, both singers and actors are used to tell a story which is a curious mixture of the legendary tales associated with Arthur, allegorical fairy tales of good and evil, and the politics of the 1690s.
About all Dryden's version has in common with the King Arthur of Camelot more familiar to modern audiences is Arthur's sumptuous court and supernatural powers as a leader of men.
The conventional Guinevere does not appear. She is replaced by the "fair, blind Emmeline", whose sight is eventually restored by Merlin.
King Arthur will be played by Michael Nation, and Emmeline by Marilyn Taylor.
Paul Thom is the producer, and Andrew McCullough of the Canberra School of Music is musical director.
Extravagant stage machines reminiscent of the style of Inigo Jones have been contrived by Bill Godfrey-Smith and Justin Eckersley.
The sets are designed by Graham Bond, currently appearing in his own revue, Candy Striped Balloon, at Phillip Street Theatre in Sydney.
They have been painted by Canberra artist Gray Smith.
Soloists include Sue Falk, Lois Bogg (pic) [not with clipping1] and Geoffrey Brennan, and the chorus is sung by members of the University Consort, who appear variously as heathen priests, shepherds and shepherdesses, nymphs and fairies.
For the cast of more than 30, over 70 costumes have been designed by Sue Falk and made by members of the cast.
A professional orchestra consisting of double string quartet will be led by Vincent Edwards, and Donald Hollier will play the continuo.
Funds for the production have been raised by subscription from more than 50 Canberra people, and a grant from the Australia Council for the Arts' opera fund.
Since this is the first time a full stage version of the work has been mounted, music students from both Sydney and Melbourne will come to Canberra to see the production.
Tickets are available from the Monaro Mall, with concessions for party bookings and students.
The eight members of the chorus of "King Arthur".
From left to right: Ken Healey, Fr Brian Hingerty, Kerith Fowles, Susan Barker, Geoffrey Brennan, Janet Allan, Ann May, Alan Behm and Andrew Barker.
[September 19692]
ANYONE who goes to 'King Arthur', which opened at the Childers Street Hall last night, thinking that 17th century opera is pretty dull stuff will be quickly disabused.
It is advertised as the first Australian presentation of Purcell's opera as a full stage production, and well it might be. Certainly it can have had few productions like this one in the 278 years since, at the Queen's Theatre, London, it first "pleased the court and city".
The English of the later 17th century did not take to the continental opera-form but preferred their own masques, a hybrid form compounded of spoken dialogue, music, dancing, elaborate sets, machines and costumes. 'King Arthur' was written by Dryden and is a fantastic mish-mash of legend, allegory and bad poetry. However, Purcell wrote for it some of his finest music and it is this which has kept it alive, though usually in concert performance only.
The singing of the members of the University Consort was excellent. They provide both the soloist [sic] and the chorus, and their performances were stylish and thoroughly musical, particularly in Acts IV and V, which were wonderful displays of Purcell's many-sided genius.
The small orchestra of strings and continuo under the direction of Andrew McCullough played with spirit and nice tone and surmounted the difficulty of being placed at the side of the stage, often a considerable distance from the singers.
As the plot concerns 70 characters, represented in this production by 30 players and singers, it is best not to mention individual performances. This is very much a team production, and the whole team was responsible for its success.
I have not had such an entertaining night for a long time. Although I knew the music I had not realised that Dryden played straight could be such a scream. The gentle dancing of the shepherds and shepherdesses, and Pam's [sic] appearance breathless in the tower were hilarious enough. But my personal highlight was Aeolus and his balloons hanging suspended like a parachutist who hadn't quite made it.
Believe me, this opera has everything - from a bottomless pit to topless sirens.
It will be repeated each night until Saturday: I can only say don't miss it, for such delights come but rarely.
[September 19692]
1When the originals turn up on Trove, I hope to add the photo of Lois Bogg
2These articles, and the approximate date, were kindly supplied by Brian Hingerty
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