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| Liam Budge (lying)- Michelle Nicolle - Leisa Keen and Company in "Flight Memory"Photo by Peter Hislop |
Composed by
Sandra France – Libretto by Alana Valentine
Directed by
Caroline Stacey – Musical direction by Sandra France
Stage and
Costume design by Imogen Keen – Lighting Design by Niklas Pajanti
Sound Designed
by Kimmo Vennonen
Presented by
The Street Theatre 14th – 17th November 2019.
Premiere
Performance on the 14th November reviewed by Bill Stephens
Who would
have thought that a jazz song cycle inspired by the invention of the Black Box
Flight Recorder would have made for an evening of absorbing theatre - not only
absorbing, but thrilling?
Commissioned
by The Street Theatre to shine a spotlight on the remarkable achievement of
Australian scientist, David Warren, who invented the Black Box Flight Recorder,
“Flight Memory”, is not biographical, although it does have a narrative. In her
program notes, librettist, Alana Valentine is at pains to point out that the
aim of the work was not to tell a biographical story, but rather to respond to
it.
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| Liam Budge - Michelle Nicolle - Leisa Keen in "Flight Memory" Photo by Shelley Higgs |
Three
accomplished jazz singers, Michelle Nicolle, Leisa Keen and Liam Budge, form of
modern Greek chorus, singing solo, duet and in trio, to embody the voice of David
Warren. Sometimes they are the voices in his head, the naysaying voices in the world,
narrators, pilots and journalists. Sometimes
all three sing in unison as a collective voice of David and the Aeronanutical
Research Laboratories team.
Alana
Valentine’s libretto is intelligent, witty, and at times laugh-out-loud, but
from its very opening moments when Leisa Keen’s air hostess instructs the
audience in flight protocol, it engages the audience’s curiosity and emotions. Key
influences in Warren’s life are noted. His father’s gift of a crystal set radio
receiver, his father’s death in one of Australia’s first aircraft disasters, how
the loss of children in a plane crash off Mackay sparked the progress in air
safety, of his response to the crushing indifference to his invention by aviation
authorities until an English Air Vice Marshall recognises its potential. Moments
of drama and exposition are cleverly balanced with the cheeky, wry humour of “The
Family Jewells” which comments on the dangers inherent in unfortunate placement
of a recording device prototype in a Dutch built Fokker aircraft.
Although not
all the lyrics were served well by the blurred articulation and jazz inflected
vocalising, the three singers coped brilliantly, committing the entire score to
memory, to often mesmerising effect. Leisa Keen’s impeccably delivered
narrations were particularly impressive.
To accompany
the singers, composer, Sandra France has assembled, and leads from the piano, a
band of top-flight Canberra musicians, Brendan Clarke, Tom Fell, Gary France,
Jess Green and Ben Marston. Her ten songs, which make up the cycle, embrace an
intriguing mixture of musical styles. Traces of baroque, classical, minimalism,
blues, swing and even hip hop, tantalise the astute listener. Multiple key
changes, time signatures add excitement. Luscious melodies soothe, only to be interrupted
by dissonant chords. A chill ran through the audience as France plucked
frantically at the piano strings while the instruments wailed in cacophony at
the revelation of children lost in a plane crash off Mackay. Her writing is assured and masterly, and despite
its complexity, also melodic and approachable.
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| Liam Budge in "Flight Memory" Photo by Peter Hislop |
Directing with
her usual panache, Caroline Stacey, took full advantage of Imogen Keen’s abstract shiny metal geometric setting, suggestive
perhaps of the approach to an airfield, or the inside of an aircraft cockpit, and the
brilliantly atmospheric lighting of Niklas Pajanti, to create a continual
stream of eye-pleasing stage pictures.
Given the
importance of the lyrics to the enjoyment of this work, Kimmo Vennonen’s mostly
excellent sound design would benefit from adjustment to favour the singers,
particularly in those sections when the band is in full flight.
“Flight
Memory” is a stunning achievement, highlighting an important scientific achievement
in an unusual but highly effective stage presentation. On opening night,
Kenneth Fraser, who worked beside David Warren on the development of the flight
recorder, and Jenny Warren, David’s daughter, were in the audience. Hopefully audiences
beyond Canberra will be given the opportunity to share this remarkable
creation.
This review also published in Australian Arts Review. www.artsreview.com.au
