By
Kylie Eastley
When
it seems that the whole of Hobart is at the beach, I am amongst a
small audience in the Peacock Theatre to experience an intriguing
show inspired by Douglas Mawson's expedition to Antarctica.
Let's
just get it out there from the beginning; opera can be hard to both
stage and watch. While The Call of Aurora had some definite
highlights I
found it difficult to enjoy.
 |
| Sir Douglas Mawson (photo courtesy of abc.net.au) |
My
foray into opera includes a strange and painful experience watching
and reviewing Beijing opera a few years ago, a more recent trip to
MONA cinema to watch Maria Stuarda by the Metropolitan Opera in New
York and the many years listening to Maria Callas, Pavarotti and
other popular opera performers.
That's
my experience of opera; aside to say...that I really like it. Even in
my brief encounters I have felt the human voice hit my heart, wrap
itself around me and make me feel extraordinary.
The
Call of Aurora is the story of Sir Douglas Mawson; his fellow
explorers, his fiance and the extreme conditions the men endured in
Antarctica. December 2013 is the 100 year anniversary of Mawson
boarding the Aurora and returning to Hobart after 2 years stranded.
The
show is made up of 4 parts; a prologue and three scenes, with an
interval after Act One. On a relatively bare stage the quintet is
positioned front of stage with conductor and music director, Gary
Wain. Joining the musicians are Philip Joughin playing Mawson, Jamie
Scott as Sydney Jeffryes, Jennifer O'Halloran playing Paquita Delprat
and Auror (the spirit of the south) and Nick Monk is cast as Mertz,
Madigan and the ghost of Robert Falcon Scott.
The
champion of this production is the musical composition and the
performance by the quintet. It is exquisite. Many times I closed my
eyes just to listen to the music. Written by Joe Bugden, the music
and libretto is superb; cleverly incorporating the whimsical with the
more intense arrangements. It encapsulates the sense of insanity
that must swim through the minds of those explorers who find
themselves in such an alien and unforgiving environment.
This
show would have benefited enormously from improved design. Still and
moving images were projected onto screens at the rear of the stage,
however, I found the positioning of these as well as the selection
and quality of the moving images a distraction from the performers,
rather than adding to it. At other times, particularly later in the
production, the images worked to create atmosphere and narrative, but
it was inconsistent and needed more direction. Similarly the lighting
design did not give justice to the performers or story. Perhaps this
was due to limitations at the Peacock Theatre, but whatever reason,
it was disappointing, especially as the subject matter would lend
itself to some fantastic imagery.
Nick
Monk was the stand out in this production. His voice was rich, full
of expression and he characterised his 3 roles extremely well. He
engaged with the audience and provided variation and movement in his
performance.
Alternatively,
I found Philip Joughin's depiction of Mawson very static and
passionless. As the lead character, this was disappointing and I was
confused as to whether the standoffish and unemotional portrayal was
intentional. Jennifer O'Halloran's voice was beautiful. I feel that
her performance would have benefited from improved design and
direction of movement on stage to better represent her roles.
Jamie
Scott was at his best in the final scene. Portraying the wireless
operator, Sydney Jeffryes, Scott brought reality to this role. It was
earthy, gritty and slightly uncomfortable. All vital ingredients for
the portrayal of a man slowly going mad.
There
were lots of moments in this production that I enjoyed. It was
beautiful when Joe Bugden, as one of the explorers in the hut, was
gathered with the other men. They were playing cards, writing,
listening to the wireless and he picked up an acoustic guitar and
started playing. It was simple, emotive, and just right. After a few
minutes, the quintet joined in and it made for one of the more
successful scenes.
It
is a priority for opera performers to keep time with the orchestra.
However, there were times throughout the last scene particularly
where the constant glancing towards to the conductor, for timing
cues, was very noticeable and distracting and broke the required
tension in the narrative.
The
conductor, Gary Wain did an amazing job and he and his musicians;
Jill Norton, Derek Grice, Nara Denis, Magnus Turner and Calvin McClay
should all be congratulated.
Mawson's
story deserves to be told and opera could be the medium, but The
Call of Aurora requires more refinement as a production to do
this successfully.
The
Call of Aurora was performed for a brief season at The Peacock
Theatre, Salamanca Arts Centre, Hobart.
