The bushfires that ravaged Canberra in 2003 have become an indelible part of this city’s identity. In many ways, the tragedy that lapped at Canberra’s doorstep in the summer of that year was symbolic of the many idiosyncrasies of life in the Australian Capital Territory. The initial complacency about the threat of danger in a town where our carefree way of life is taken for granted, leading to complete chaos and indecision when the reality of the disaster struck, provides the turbulent backdrop for this operatic drama examining the lives of four people, each battling with their own internal demons.
From a Black Sky conveys the intensity of one of Canberra’s worst ever tragedies through the perspectives of two couples living in the leafy area of Duffy. On what might be just an ordinary summer’s day at the Weston Creek shopping centre, the news broadcasters announce that temperatures are expected to reach a high of 38 degrees while fires continue to rage in the perceivably distant Namadgi National Park. Nonetheless, the people of Canberra are in good spirits as the weekend begins as per routine and children and friends continue with their usual Saturday activities.
After bursting onto the stage with a light-hearted flurry of activity, the musical score deepens to accompany the fatalistic attraction growing between two main characters as they each betray their respective partners to succumb to each other’s embrace. Within Amelia’s home workroom, flanked with the flags of red gowns, temperatures flare between the adulterers in parallel to the heat raging outside. While his wife engages in illicit relations with another, David is wracked with guilt at the knowledge that mounting bills have meant that he is unable to pay the insurance premiums. When he is given the news by a chorus of grey-clad, bespectacled public service bureaucrats that he will be made redundant due to downsizing, his woes and worries for Amelia are accentuated.
As the curtain closes on Act 1, the ominous threat of the fires is looming ever closer and heightens the tension of the setting. Through clever lighting design and with the fire’s presence personified through the music, the bushfire explodes upon the scene in Act II and irrevocably changes the lives of the protagonists as events conspire to confine them to grief, guilt and regret.
The characterisation of the fire as a force lurking in the background, emerging fleetingly to wreak havoc upon the city, is central to the plot of this story. The deep affinity many Canberrans feel towards the plight of others who experienced loss in the bushfire tragedy draws people to this opera. However, although its scenes are uniquely Canberran, the universal themes of betrayal and loss in the face of adversity transcend the setting and make From a Black Sky an admirable dramatization of the juxtaposition between personal demons and life and death situations.
Conveying this story as an opera with a chamber orchestra allows the emotions to penetrate through the multiple levels of Helen Nourse’s libretto. The impressive operatic depth of tone demonstrated by the core cast taps deep into nerves, allowing the mood to be evoked through music, rather than the lyrics, which at times are difficult to interpret. The placing of the orchestra in centre stage with the characters dancing around the musicians, highlights even more profoundly that Sandra France’s musical score is at the core of this piece, and it is through her wisdom of composition that we share the characters’ journey.
The stage design is cleverly arranged in a series of ramps and walkways around the edges of the limited space on stage with various platforms situated at the back and sides. With a full cast totalling more than 40 actors and 11 musicians, when all are present on stage the scene is a flurry of activity. Nonetheless, the four main opera stars steal the show with their resonating voices and emotional repertoire. Rachel Duncan gives an outstanding performance as the torn Amelia, whose momentary fling condemns her to unexpected remorse at the fickleness of her actions. Likewise David Rogers-Smith gives a gripping performance as the tormented David, whose booming vocals in times of distress give a palpable sense of his distraught state.
From a Black Sky is an ambitious project combining multiple performers with an orchestra ensemble to deliver a powerful, emotionally driven opera set at a monumental time in Canberra’s history. The decision to deliver the piece as an opera, arguably not one of the most accessible modes of entertainment, is a brave feat which has been rewarded by a production that displays a richness of musical tones, as demonstrated by the enthusiasm of its talented singers. Its appeal to non-opera appreciators, however, lies in its ability to dramatise the events of that fateful summer’s day by weaving together the personal stories that typify Canberra suburbia with the tragedy that befell the city on a larger scale. Both avenues of connecting with the audience are effective in drawing people into drama of the highest calibre.
Making the decision to stage a production set in Canberra is always a risky venture. However, as the thunderous ovation that greeted creators Sandra France and Helen Nourse at the Street Theatre on Friday night demonstrated, Canberra audiences are infatuated with shows that highlight local storylines. Resounding through the applause that lifted the roof off Street One on the opening night of From a Black Sky was the stirring sense of achievement that bonds a community in its sense of togetherness, a deep-seated patriotism that seemed to say, ‘We made this and we should be proud’. This production should certainly be a source of pride for the Canberra community.
Through its innovative manipulations of stage design, positioning of performers and prevalent themes, From a Black Sky should be commended as a unique testament to Canberra’s diverse theatrical abilities.
Rating: 3 ½ stars out of 5
From a Black Sky
Composer: Sandra France
Librettist: Helen Nourse
Conductor: David Kram
Director: Caroline Stacey
Designer: Christiane Nowak
Lighting Designer: Gillian Schwab
Sound Designer: Seth Edwards-Ellis
Chorus Master: Alan Hicks
Orchestra Leader: Rowan Harvey Martin
Children’s Chorus Director: Lynne Kowalik
Featuring Don Bemrose, Judith Dodsworth, Rachael Duncan, David Rogers-Smith
Introducing Erindale College Vocal Ensemble and the Arawang Primary School Chorus
The Street Theatre, Canberra
20-22 September
