Sunday 2 December 2018

Enjoyable concert celebrates 50th Anniversary

Soloist Kristian Winther and conductor Shilong Ye. Photo Peter Hislop
50th Anniversary Concert 
James McCusker Orchestra
At Albert Hall, November 30. 

Reviewed by Tony Magee

Originally composed for military band, the “English Folk Song Suite” by Ralph Vaughan Williams was arranged for full orchestra by his student Gordon Jacobs in 1924. Two pieces from the suite served as a sparkling opener to a most enjoyable concert by the James McCusker Orchestra under the baton of their talented and comedic musical director Shilong Ye.

Celebrating their 50th Anniversary since founding, this student orchestra were joined by many alumni for the occasion.

The opening march, “Seventeen Come Sunday” featured two beautifully played clarinet solos from section leader Kieran McConville whilst the second “Folk Songs From Somerset” featured effective use of percussion.

Excerpts from Tchaikovsky’s “Nutcracker Suite” revealed challenging work for the brass section, who after a shaky start, rose to the occasion beautifully with sustained and powerful fanfare style playing in the opening “March”. Percussion once again featured and added a huge body to the sound in the final Russian Dance, “Trepak”.

The “Symphony No. 40” by Mozart presented the greatest challenge for our young players, albeit teamed up with more experienced alumni and was variable in success. One thing to bear in mind with youth orchestras, particular the JMO, which is a training orchestra, is that the students need to experience the stamina and concentration required to play a large scale work. Whilst some tuning problems and slow tempi marred the overall enjoyment of the piece, the orchestra none-the-less played it through successfully from start to finish - all four movements - and delivered the overarching unity of the piece as a whole which drew to a satisfying conclusion. Of particular merit was the oboe solo in the final Allegro assai played with feeling and beauty by section leader Gudrun Ursula Drake.

Guest artist and alumni Kristian Winther  gave a brilliant and virtuosic performance as violin soloist in Mendelssohn’s “Introduction and Rondo Capriccioso” with a sensitive and well played accompaniment by the orchestra. It was the highlight of the concert, appreciatively received with deafening applause from the audience. In addition, Mr Winther made himself available to play within the first violins during the preceding Vaughan Williams, Tchaikovsky and Mozart, which was a humbling and inspiring gesture.

To finish this very special evening, the orchestra played selections from Kander and Ebb’s famous musical, “Chicago”. Opening with a well played and suitably night-club style muted trumpet, the band bounced into life in this exciting medley of show-tune hits and played convincingly and with gusto.

One particularly special moment at the end was the acknowledgement of special audience guest, distinguished violinist and teacher Josette Esquedin-Morgan, first teacher of Kristian Winther. The two embraced after the concert, providing some superb photo opportunities.

The Music for Canberra organisation continues the rich tradition of classical music training and ensemble for young people in Canberra. The experiences offered are a huge opportunity for all involved to enrich their lives through fine music. Under the leadership of their new CEO and artistic director Dr Stephanie Neeman, the future seems in excellent hands.


First published in City News Digital Edition, November 2018




Monday 19 November 2018

Gay and Lesbian Qwire Fly High in Joyous Concert

Photo: Peter Hislop
Taking Flight
Canberra Gay and Lesbian Qwire
The Q Theatre
Saturday 17th November 2018

Reviewed by Tony Magee

Celebrating their 25th Anniversary, the Canberra Qwire presented a splendid and varied program of song in this joyous and uplifting concert. Opening with a wonderful and bright piece, “Try Everything”, the musical scene was confidently set with powerful and projected singing, tight harmonies and rich tone production.

Conductor Karen Wilden, who is also assistant musical director of the Qwire, was in full command as she swept the ensemble through a repertoire of songs of defiance, joy, celebration, justice, thanks and peace. It was a carefully chosen program, designed to reflect a journey over twenty-five years, starting in rather more difficult times.

In a prelude to the opening piece, footage was shown of members reflecting on why they sang with Qwire and what it meant for them. A place to feel welcome, safe, loved, understood and valued seemed common to all, as well as a unifying sense of accomplishment and purpose in their musical achievements.

Also central to the success of this very special evening, was the opening address by Ngunnawal Elder, Aunty Jude Barlow, whose welcome to country was passionate and heartfelt. Her eloquent speech was summed up so beautifully as she personified her late father’s spirit into all the wedge-tailed eagles flying over-head and watching over us all.

“Bird Set Free” revealed an excellent five piece band in the background - violin, cello, guitar, bass and drums - who played with sensitivity and style in many of the pieces. The arrangements were imaginative and musical, with many opportunities to showcase the strings in particular.

Stand-out in the accompaniment arena was pianist Jessica Stewart, whose playing was lyrical, supportive and beautifully arranged. This was accompanying of rare insight and beauty and a key element in the success of the performance. During the piece “You, Me and the Wide Open Sky”, her playing was featured in several solo sections, revealing her ability to extract a cantabile tone from the piano and was just superb.

L.I.F.E.G.O.E.S.O.N. revealed the first of three a cappella pieces, all of which demonstrated the Qwire’s ability to hold pitch and intonation extremely well. A true test of a choral group. The highlight was “Run to You” in the second half, in which the group demonstrated a huge range of dynamics, from gentle whispers though powerful crescendoes.

My only disappointment was the final piece of the first half, Concita Wurst’s “Rise Like A Phoenix”, which lacked the dynamics for the Phoenix to musically “rise” - (…from the fading light I fly…), with the result that there was no climax. I hope Qwire can address this for a future performance. It is a fabulous piece.

During the concert, founding member Lynne O’Brien presented informative commentary, describing Qwire’s journey.

I’ll leave the final words to one of their patrons, Ambassador of the Kingdom of the Netherlands, Erica Schouten, who says, “Central to the Dutch human rights policy is the heartfelt belief that no one should have to hide who they are and whom they love”.

First published in City News Digital Edition, November 18
Also published on Canberra Critics Circle Blog, November 19


Monday 22 October 2018

review: THE DEGENERATE AND THE FOP, Sarahlouise Owens soprano, Colleen Rae-Gerrard piano. At Wesley Music Centre, October 21.

Reviewed by Tony Magee
In this delightful program of song, presented by Sarahlouise Owens and Colleen Rae-Gerrard for Art Song Canberra, the material was eclectic and unusual, often humorous, sometimes delicate and sensitive and always very entertaining.

Owens is a skilled and experienced performer of the older European genre of cabaret, securely founded in the underground and sometimes sleazy and dangerous networks of 1920s and 1930s Berlin and even earlier in Paris. In this repertoire she has few peers. Diction, delivery and exquisite pronunciation of the two languages, combined with a beautifully flexible voice carry the songs through soft romantic delicacies, delicious sting-in-the-tail jibes, soaring crescendos and powerful high-register climaxes.

Owen’s voice also seems founded in an older school of vocal style and tone production and on several occasions during the concert, I found myself thinking of the great Maggie Teyte.

Beginning with a selection of five cabaret songs by Dominick Argento, the bracket showcased the composer’s eclectic style, which presented continuous challenges for the performers, who had to quickly turn from the unpredictable and unusual melodic and chordal structure of “Who Could Have Known” through the bawdy and funny “Luckiest Woman” to the gentle “You”, all handled with aplomb and panache.

A delightful bracket of three pieces by Poulenc followed, grouped as “Banalités”. The highlight was “Hotel” which Owens introduced as possibly “the laziest song ever written”. Rae-Gerrard’s accompaniments were exquisite during these pieces and both performers captured the mood and sublime delicacy of these beautifully.

Max Reger’s “Abschied” is a song similar in style to some of those by Mahler and Richard Strauss. Rae-Gerrard achieved a beautiful cantabile tone in several piano-only melodic passages during this and the following “Maria Wiegenlied”, this time paying homage to Brahms.

The first act closed with some of the most anticipated and appreciated repertoire by the audience and this reviewer, Satie’s “Je to veux” and “Diva du l’Empire”, superbly performed by both artists, the luscious French language once again demonstrating Owen’s mastery of it.

Highlights from Act II included three songs by Sir William Walton - all beautiful pieces with far ranging and diverse vocal melodies and piano accompaniments. 

Peter J Casey’s brilliant and satirical “I Am Sick to Death of Hearing About the Weimar Republic”, a tongue-in-cheek musical homage to Kurt Weill, was delivered with comic intensity and style, although also the only time during the recital where the balance favoured the piano a little too much. Owen’s diction in her own language, curiously, wavers somewhat and is not to the same standard as her perfect French and German. None-the-less, a still creditable performance.

Reynaldo Hahn’s “Chanson d’Autumn” and “Nocturne” saw a return to the French repertoire and were very beautiful renditions - mournful, soulful and searching - with gorgeous piano accompaniments by Rae-Gerrard.

The program concluded with Weill’s “Berlin I’m licht” and “Buddy on the Nightshift”, the latter being from his “Lunchtime Follies”, first produced in Brooklyn in 1942. The last two lines, “I’ll follow you, you’ll follow me, and how can we go wrong”, aptly summed up a fabulous and entertaining afternoon of song from two very professional performers.



Thursday 18 October 2018

Review: DON GIOVANNI, by Wolfgang Mozart, at SCM Music Workshop, October 18 2018

From the program cover, image by Isabella Andronos
Reviewed by Tony Magee

Sydney Conservatorium of Music Opera School – Con Opera for short – presented an excellent and engaging production of Mozart’s Don Giovanni.

Classified by Mozart in his own catalogue as an Opera Buffa, the work blends comedy and melodrama with some serious action and even supernatural elements. 

Director Matthew Barclay has updated the setting into modern times, this light-hearted romp being set amongst a backdrop of film sets, Hollywood glamour, deceit, ribald sexual flings, news, television crews and gossip columnists. There is much for the youthful cast to get their teeth into and have a great deal of fun with.

Sung in Italian with sur-titles, the entire cast sang extremely well.

Jeremy Dube gives an excellent and sustained performance with fine comic acting and excellent singing in the role of Leporello. Nik Roglich’s entrance and rich baritone voice as The Commendatore was most engaging, albeit short, as he was murdered within the first five minutes by the Don, only to return mysteriously in Act II in a different guise.

As Don Giovanni, Haotian Qi gives a suitably enigmatic performance, very much in the style of Alfie in the film of the same name. Dressed in a white suit, he pulled off the dashing but shallow play-boy convincingly.

Henry Wright as Masetto and Josi Ann Ellman as Zerlina both gave excellent performances, vocally and in character, particularly in their long and involved dressing room scene in Act I.

A major highlight in the production which involves the entire cast – soloists and chorus – is the masked ball, which includes an hilarious line-dancing segment, choreographed to Mozart’s original score.

Throughout the performance the orchestra under the direction of Dr Stephen Mould played superbly. Beautifully in tune they were perfectly balanced with the singers, playing a stylish and professional accompaniment.

My only slight criticism is that for the most part, the soloists all sound pretty much the same tonally. No-one really stands out with a seriously unique voice. I hope the students will be and can be encouraged to explore and develop special unique sounds and qualities to their voices, which can carry them further into professional roles and where they can maximize their chances of all being in demand.

With this standard of singing and performance prevalent at the Sydney Conservatorium of Music, the future certainly looks bright for the continuation of excellent international opera standards in this country.



Review: "SCM CHAMBER CHOIR", at Verbrugghen Hall, October 17 2018

Reviewed by Tony Magee

In an inspired and brilliantly executed opening, the Sydney Conservatorium of Music Chamber Choir segued two contrasting settings of the 12th Century chant "O quam preciosa", composed almost 1000 years apart.

Hildegard von Bingen's music was thrust into the 20th century spotlight with the 1985 album, A Feather On the Breath of God, one of the top selling classical music releases for that year. She was an Abbess, composer, mystic and poet of the 12th century. Also author of the text, the chant celebrates the arrival into the world of the Christ Child, through the vessel of the female body.

As a further enhancement, an East meets West philosophy was applied with Chinese erhu and guzheng instruments replacing the traditional hurdy-gurdy accompaniment of the day, played with sensitivity and style by Nicholas Ng and Vicki Zheng respectively.

The piece was beautifully performed with the tenors and basses setting up a drone foundation over which sopranos and altos soared with melody sung in antiphon.

The second setting is by contemporary Australian composer Ross Edwards. In this, the virgin is a metaphor for the Earth-mother, who gives birth to a hoped-for bright new era. Listening to this performance, I found my mind contemplating today's fragile and dismal international political climate, and was comforted by this very welcome spark of hope and joy.

Eriks Esenvalds' "Evening" is a piece of beautiful delicacy and warmth, fluttering leaves, gentle evening light and peace. To quote Gabrielle Jackson's program notes, "The piece doesn't really go anywhere - it simply is - full of innocence and wonderment at the close of day."

Balancing her time between Canberra and Sydney, composer Olivia Swift's "The Leaves Drop Down" is a complex choral work, alternately delicate and demanding. Generally, the balance in this and indeed the entire concert was excellent between all vocal parts, with the exception of a moment of doubt in a tenor section entry. A beautiful work.

Carlo Gesualdo (1566 - 1613)
Don Carlo Gesualdo's final madrigal, "Quando ridente e bella" followed, sung by just five members of the 24 member choir. Way ahead of his time, 16th century Gesualdo is remembered both as a composer of intense expression and chromaticism - something not heard again until the late 19th century - and also a tragically tormented soul, wracked with guilt and shame due to his ghastly murder of his wife and her lover.

One commentator of the day noted, "Gesualdo was afflicted by a vast hoard of demons which gave him no peace, unless ten or twelve young men, whom he kept specially for the purpose, were to beat him violently three times a day." The sub-group of five handled the complex harmonies very well, with good balance and varied dynamics. Shaping of phrases needs more work from them, something that does develop over time, with familiarity of performance and rehearsal.

Conductor and music director Paul Stanhope showcased one of his own pieces, "The Land Is Healed: Ban.garay!" Full of beautiful and at times complex harmonies and rich in texture, the choir developed intense dynamics. This was choral writing of the first rate and one of the highlights of the program.

The erhu and guzheng instruments returned to the stage to accompany the choir in two Chinese folk songs arranged by Julian Yu. Originally from Beijing, Yu is now based in Australia and coached the choir in Mandarin pronunciation for this performance of delicate dynamic shading.

Benjamin Britten's "The Evening Primrose" and "The Ballad of the Green Barron" followed. These pieces once again demonstrated the choirs excellent pitch and intonation. Also evident were beautifully shaped lines and phrases and mostly excellent diction.

The concert closed with "Christ the King" by New Zealand born Clare Maclean. She is particularly influenced by Renaissance repertoire and early polyphony. The piece is magnificent in its harmonies and structure and the choir made full advantage of the richness of the choral writing and sounded superb. A fitting conclusion to a wonderful program, as stylistically the presentation almost came full circle.



Review: "EVITA", by Andrew Lloyd Weber and Tim Rice. At Sydney Opera House, October 17 2018

Reviewed by Tony Magee

Kurt Kansley as Che. Photo by Jeff Busby
Trying to recreate what has already been created seems to me a pursuit of dubious merit. In presenting Evita, Opera Australia have opted for the original direction by Hal Prince and original choreography by Larry Fuller, with the original design by Timothy O'Brien.

The result is a cast seemingly going through the motions rather than the freshness one might expect from new ideas. The premise of "you show me and I'll show them" is all too evident in some of this production.

Having said that, there are some powerful moments that engage. Notably, the cinema scene at the very beginning, the side-on view staging of the Charity Concert and the powerful closing of the first act with "A New Argentina".

By far the star of this production is Kurt Kansley singing the role of Che. His superb diction, brilliant singing voice and powerful characterization underpin the entire show and was a joy to behold. His character also serves to advance the plot significantly.

Notable also was Paulo Szot, perfectly cast as Eva’s military dictator husband Juan Peron. His stunning, rich baritone voice filled the theatre with ease.

The orchestra under the direction of Guy Simpson were superb, displaying perfection in tuning and intonation, thrilling dynamics and majestic playing. The best pit orchestra I have heard and one that could easily hold its own playing the symphonic repertoire.

Alternate actress and singer Jemma Rix as Eva Peron, presented the show's high spot, "Don't Cry for Me Argentina" in a moving and captivating manner. It was also the only time we were really able to hear her excellent singing voice to maximum potential.

Jemma Rix as Eva Peron
Yes, this is a show where everything is pinned on one great number - the rest of the score arguably being one continuous recitative. Puccini achieved a similar result with Turandot, having the great “Nessun Dorma” buried away in Act II.

The plaintive "Another Suitcase in Another Hall" and "High Flying, Adored" are admirable inclusions, but seem placed in a desperate attempt by the composers to add another couple of commercial tunes to keep the audience interested.

The other aspect of this production which deserves praise however, is the ongoing archival film footage, particularly crucial in helping advance the plot during the scenes where Eva Peron travels the world, thrusting Argentina briefly into the international spotlight, as the charismatic and beautiful First Lady engages with other countries, only to be snubbed somewhat by Britain towards the end of her tour.

This brings into perspective in some ways the swift and effective action of Margaret Thatcher years later, when she pounced decisively on Argentina after they invaded the Falklands.

The relentless dependence on rhythmic and melodic motifs and ideas from the earlier and brilliant Jesus Christ Superstar is also something that wore thin with this reviewer. Having just returned from a delightful student performance of Mozart's Don Giovanni at The Con, the contrast between inspired genius and sustained mediocrity was well and truly rammed home.

Evita is a flawed opera in so many ways, however this production is none-the-less slickly produced. Fans will no doubt be delighted. I found it tedious.



Sunday 14 October 2018

Review - “A NIGHT IN PARIS”, Andrew Rumsey and James Huntingford, piano duo. At Wesley Music Centre, October 13 2018


Andrew Rumsey (left) and James Huntingford
Reviewed by Tony Magee

Piano duos of fame almost always seem to share a common gene pool - one thinks immediately of the sisters Labèque, the brothers Kontarsky, father and son Vladimir and Vovka Ashkenazy and father and daughter Emil and Elena Gilels. Go back a little further in time and you find the brothers Rubinstein and the sisters Boulanger. Even further and we arrive at the most famous piano duo of all - Wolfgang and Nannerl Mozart.

Andrew Rumsey and James Huntingford share a different kind of musical unity and one that works brilliantly. They share the same age, interests, academic institution and the ability to work together in rehearsal and performance with ease and flexibility.

Opening with Poulenc’s “Sonata for Piano Four Hands”, the concert bounced into life with a bright fanfare opening, settling back into lyrical and soulful playing. The pianists captured playful, almost child-like qualities in the second movement with gentleness and delicacy, before a soft-landing jazz chord to finish the piece.

Debussy’s “L’Isle Joyeuse” for solo piano, is based around the relationships between the whole-tone scale, the lydian mode and the diatonic scale. Huntingford played this with sensitivity and poise, capturing the mystique of the Channel Islands, which Debussy had visited with his wife and which inspired the piece.

Paul Dukas wrote “The Sorcerer’s Apprentice” in 1897 and it is originally an orchestral work. Many people are familiar with it through Walt Disney’s animation as part of “Fantasia”, Mickey Mouse being the hapless apprentice. In this, the pianists played with majestic assurity, capturing the relentless marching of the broken, wooden broom handles, whilst also hinting at the ever frightening scenario of chaos and despair suffered by the apprentice.

Saint-Saëns’ “Dance Macabre” was a doubly appropriate inclusion in the program, not only for its authentic French connection, but also because Halloween approaches rapidly later this month. Death calls forth the dead from their graves to dance for him on Halloween, whilst he plays the fiddle. The upper part was played with lyric beauty by Huntingford, whilst the rumbling and menacing bass was handled by Rumsey, occasionally somewhat too heavy-handedly, but none-the-less leaving the audience in no doubt as to the terrifying nature of the spectacle.

The second half of the concert opened with Gabriel Faure’s famous “Pavane”, Op.50 and was the only piece on the program that was dubious. The intimate orchestrations were lost in the translation to piano duet - heavy doubling of thirds, triple octaves and a grandiose approach somewhat destroyed the allure and delicacy of the original.

Lully’s “The Ceremonial March of the Turks” by contrast worked brilliantly as a piano duet adaption, the arrangement being by Huntingford. The pair played it with majestic and regal style, showcasing everything that is possible from a piano in volume, timbre, sonority and texture. This was a superb performance and a highlight of the concert.

The last time a piano duet reduction of Camille Saint-Saëns’ “Carnival of the Animals” was performed in Canberra was in 1996 at the Royal Theatre, with pianists Dudley Moore and Rena Fruchter. It was also one of the most disastrous concerts in the history of live performance. William Hoffmann’s review in a local newspaper of the time carried the headline, “Bumbling Ineptitude from Dudley Moore”.

Rumsey and Huntingford played the piece with sparkling panache, uncanny musical unity and understanding and pianistic skill that showcased their talents and the music superbly. The linking dialogue by Ogden Nash was wryly delivered with suitable tough-in-cheek humour by John Rumsey, father of Andrew. This was the major work in the second half of the program and particular highlights in capturing the essence of the animals portrayed included the Lion’s roar, at least three different Cuckoos (there is only one in the original, played by clarinet), The Aquarium and Le Grand Finale, where all the animals come together.

A great night’s entertainment from two outstanding young pianists.



Sunday 23 September 2018

Review: Theatre / “SHAKESPEARE AND HIS MISTRESS”, by Paul Kauffman, directed by Cate Clelland. At ANU School of Music Big Band Room, September 21. Reviewed by TONY MAGEE

Kirsty Budding as Emilia and David Pearson as Wil.
Photo by Janelle McMenamin
Local playwright Paul Kauffman has unveiled an interesting play, based on the premise that William Shakespeare took a lover some time around 1592, when he was aged twenty-eight, who provided inspiration for many of his sonnets of love, as well as the initial idea for the story of Romeo and Juliet.
The lover, or mistress, is Emilia Bassano-Lanier, who later became the first recognised female English poet. Her life is well documented in her letters, poetry, medical records and legal records, although none of these mention an affair or relationship with Shakespeare. She is known however to have had a knowledge of an unpublished first draft of his “Antony and Cleopatra”, as well as an understanding of the symbolic meaning of certain scenes in “A Midsummer Night’s Dream” and “The Tempest”.

More convincing is the possibility that Emilia is the “dark lady” referred to in Shakespearian sonnets 127-154, characterised by being overly sexual in passion. Elizabethan astrologer and occultist Simon Foreman believed this. Other scholars have argued that the dark lady could be brothel-owner Black Luce, or Aline Florio - the wife of a well known Italian translator of the period.

At any rate, there is more than enough speculative fodder to come up with the good yarn presented in this play. 

Strengths of the production are the excellent original music composed by David Pereira, expertly played live by himself on Cello, Dr Edward Neeman on keyboard and Isabeau Hansen on flute and piccolo. The score combines the Elizabethan style, not dissimilar to composer John Dowland, with contemporary harmonies and melodic phrases. One period piece, Michael Praetorius’ “La Volta”, is reprised several times and given an unusual harmonic treatment, mixed with a traditional reading.

The Werckmeister temperament chosen for the digital harpsichord added mystique with its period tuning system, although a real harpsichord would have been so much better. Surely at the chosen venue, The ANU School of Music, there must be one? Odd. Also, treble and sopranino recorders would have been preferable to flute and piccolo.

In addition to the instrumental score, Pereira has written several songs to ad period charm and advance the plot somewhat. David Pearson, playing Shakespeare, sang a convincing and beautiful rendition of “For the First Time I am Truly Alive”.

The other strength is the excellent Old-English style courtly dancing, choreographed by local Renaissance dance experts Alwyen and John Gardiner-Garden, who also supplied the authentic period costumes.

As a play, it drags and needs some re-writing and tightening up. In particular, there is a general lack of enthusiasm from the cast of four in delivery of lines and pace. Projection and diction varied from poor to acceptable. Also, from anything further back than the third row, it was hard to see what was taking place on the floor-stage.

If this is to work as a sustained production, particularly with a view to the intended parts II and III for 2019, it could be dramatically improved by being staged in-the-round, thus alleviating sight-line problems and bringing the story and the action right in front of the whole audience, who ideally should be in raked seating.

Theatre / “SHAKESPEARE AND HIS MISTRESS”, by Paul Kauffman, directed by Cate Clelland. At ANU School of Music Big Band Room, September 21. Reviewed by TONY MAGEE

First published in City News Digital Edition, September 22  2018.



Wednesday 12 September 2018

Short story: "WHO FIRED THE GUN?", from "Titanic and Other Ships", by COMMANDER CHARLES LIGHTOLLER

C H Lightoller (1874 - 1952)
So, in the year of Our Lord 1900, armed with a letter of introduction and full of good resolutions, I made my appearance at 30 James Street, Liverpool, the headquarters of the wonderful White Star Line. It was customary in those days to have to wait anything up to six months before getting an appointment, so, feeling very virtuous at having done the great deed, I slipped away for a few months’ holiday. Within a week, to my utter disgust, I had orders to report; and on arriving in Liverpool, found I was appointed to the R.M.S. Medic, the first of the five huge White Star Liners that were to open the new Australian service. I suppose I ought to have felt flattered at being picked out from among the many, but it was rather a staggerer, since all my outfit happened to be roaming somewhere round the railways, more or less lost, and certainly unobtainable.

When the Marine Superintendent told me the ship was sailing within a couple of days, I blurted out, “Good Lord, I’ve no clothes.” His reply was short, and to the point. “Get some.” I did, and rambled off to Australia with slightly less than half an outfit. But it was the White Star Line, the summit, at that time, of my ambitions.

What a change after that precious old cattle truck. Here everything spotless and clean; everything just-so, discipline strict, but in no way irksome. Navigation such as I had never known it.

I soon fell into things and became frightfully keen at my job. Crowds of passengers and plenty going on. I lasted a whole voyage, and then I sent in my resignation in preference to being fired! Undoubtedly my own fault for again doing those things usually left undone by the discreet and wisely minded.

It came about this way. We were lying in Sydney, in Neutral Bay, and for one reason and another our sailing had been delayed. She was a show ship, the biggest that had ever been out there, and the people in Australia gave the time of our lives. Everything and everywhere it was the Medic.

I was always extremely fond of small boat sailing, and it was partly this amusement that got me into the scrape. I, as fourth officer (since she did not carry a fifth), with four midshipmen, had rigged up one of the ship’s boats. We fitted her with a false keel, and used to sail her all over the harbour, that most wonderful of harbours in the wide world, and the boat was no slouch either.

One day we had been across to Rosecutter’s Bay (sic), and, as an excuse for the jaunt, had taken sandbags to fill up with sand and bring back for the purpose of holystoning the decks. Now, standing in the middle of the harbour is a rock, on which is built a fort, known as Fort Dennison (sic), or more commonly Pinchgut, owing to the starvation diet on which the convicts were kept whilst confined in the fort. Mounted on this fort is a huge gun, that covers the whole of the harbour.

We were coming off with a light breeze, clad in our white ducks, thoroughly enjoying life, and went to pass windward of the fort. The boat did not seem inclined to lie up to it, and as it was of no consequence whatever, we ran close under the lee. One of the boys, Watson by name, lying on his back along one of the thwarts and looking up as we passed close under the fort, noticed the projecting muzzle of this huge gun. “What a lark,” he blurted out, “to fire that gun some night. Wouldn’t it shake ‘em up?” I looked up, and as they say in Yankeeland, fell for it. It was a proposition that appealed. So, with each one sworn to secrecy, we set about what proved to be a task that took over six weeks to accomplish, but it was worth it.

First, there was the powder to get, and, to avoid suspicion, it had to be obtained in very small quantities. There was fuse to get also, but before we committed ourselves very deeply, bearing in mind our very limited exchequer, it behoved us to go off some night and reconnoiter, and find out what sort of gun it was, and if it could be fired. For this purpose we commandeered a scow from Cavill’s Baths that lie off the Domain.

Sydney Harbour is reeking with sharks, as in fact is the whole of the water round Australia; any baths therefore, must have a shark-proof netting, and it is customary to have floating pontoons, on which are built the dressing rooms, and from which the shark-proof netting is suspended. These iron tanks rapidly become fouled in the warm water, and it was for the purpose of cleaning these tanks that this one man scow was used. It was capable of carrying one man, and one drum of tar, with a fair amount of safety.

Two of the boys were wise, and at this juncture backed out of the escapade, so the remaining two and myself boarded our noble scow one night, and proceeded to paddle out into the middle of Sydney Harbour. Our good Guardian Angel must have been pretty wide awake. Although it was dead calm and the surface like glass, we could not paddle quickly because the water came over the bows. As to what would have happened if the slightest breeze had sprung up, doesn’t need a very vivid imagination. However, I cannot say it bothered us; we wanted to get there and we got there, climbing up the lightning conductor and into the turret-like top of the fort.

The interior was a huge circular well, round which this massive gun carriage was supposed to revolve. The gun was an old muzzle loader, and I should think the whole outfit weighed somewhere in the region of twenty tons.

I was walking round the parapet on the inside with cat-like tread, looking to see what I could find, when I suddenly realised there was a face staring at me out of the darkness within two feet of mine. Instinctively I drew back my arm, in a way wondering who would get in the first knock when I realised that my opponent was my own reflection in the glass of the door, which led to the lower regions of the fort.

We found the bore and vent all clear, with ramrod, sponge, and extractor all complete. As the latter two could only be required in the event of a second shot, they did not interest us. If we could ram home and bring off the “One Gun Salute” as it was eventually called, we were going to rest on our laurels. Having completed our examination, we returned down the lightning conductor, into the scow, and back to Cavill’s Baths. That occupied one whole night, from just before midnight until five o’clock in the morning, and not a soul a penny the wiser.

We slowly collected powder, fuse, and masses of white cotton waste, which we marled down, with the object of ramming home in the form of three large wads, and so completing the charge. There were fourteen pounds of blasting powder alone, apart from a similar amount of fine grain, the former, of course, went in the rear of the charge, as it burns slower;

What really topped off the crazy joke, and gave it a real artistic finish, was the idea of hoisting the Boer colours on the flag staff of the Fort.

England was then in the throes of the Boer War, with Australia more loyal, more patriotic, more fervently keen for Empire rights, than was even displayed at home. It is notorious that the Australians are always more British than the English themselves, loyal to the heart’s core, and every thought for the homeland. The scene on the quaysides, and in the towns when a contingent was leaving for South Africa, simply staggered belief. The people were patriotic mad, and had there been the ships and the necessity, every man jack in Australia would have volunteered.

It was under these conditions that we conceived the glorious idea of hoisting the Boer Flag and flaunting a real roaring red rag to the Australian bull. It had, of course, to be made, and must not be made out of bunting, otherwise it would at once be traced to some ship in the harbour. Actually it was made out of linen pinched from the surgery, and painted with the Boer colours. All this had to be done behind locked doors, and after many days we were ready at last to put our scheme to the test.

We had located a boat which we could commandeer, and at eleven o’clock one night, with a nice fine drizzle falling, sufficient to keep most people in doors, we loaded up. I had the honour of carrying the fifty feet of fuse round my waist, and the bag of powder slung round my shoulder and under my armpits, covered by my coat. Three huge wads of waste and the coil of signal halyards, for hauling the ammunition up, were distributed equally between us.

With this, the three of us marched up George Street, Sydney, perfectly confident that every policeman we came to was going to arrest us on suspicion and trembling in our shoes in consequence; not so much I’ll say, in fear of ourselves, but that our plot might fail.

It did not.

Fort Denison, Sydney Harbour
We got our boat; then out to the fort, and up the lightning conductor. Everything worked nicely to plan. Having hauled up the powder, I laid on my back, and with my heels on the inside edge of the Fort, I was just able to reach the muzzle of the gun, jam in the flannel bag containing the power, and ram it well home. Next followed the two wads of waste, and they also were rammed well home. Then, finally, the third wad, which had first been soaked in water.

Our only disappointment so far had been that we were unable to train the gun until it bore on a Russian man-o’-war then lying in the harbour. If this had been possible, we intended to insert one of the sandstone balls from off the top of Government Garden Gates, which would have burst on impact with her decks, and left little or no trace, but added considerably to the fun. This did not come off, however, as the gun couldn’t be trained.

Having rammed the charge home, until the thud of the rammer was loud enough to bring out the sentry, we quit. The plan was for the other two boys to hoist the flag, let go the piece of signal halyard, that we had used to haul up the ammunition, get down to the boat, turn her stern on the rocks, haul the signal halyards into the boat, lay on their oars, and stand by.

I had allowed three minutes for this operation.

In the meantime the fifty feet of fuse had to be coiled round the breach of the gun; the pricker then driven down the vent to pierce the flannel bag of powder, a small box of fine grain powder poured down the touch-hole, the business end of the fuse stuck down the vent, and then to stand by with a match. All this I finally finished, and there was still one minute to wait; it seemed like an hour.

At last the great moment arrived. Striking the match, I lit the frayed out end of the fuse, and, as it spluttered and hissed, blew out the match, and put it into my mouth. The flag was now gaily fluttering in the breeze, as I dashed for the lightning conductor, to find, in the first place, that Watson had forgotten to let go one piece of signal halyard. This I cast off; then I more fell than climbed down the slide of the fort, on to the rocks below, only to discover that a plank in the boat had been stove in on the rocks, by the wash from a passing tug, and she was half full of water.

There was no choice; the fuse was burning, so we had to go. In we jumped and pulled like mad. The others were both Conway boys, and they could pull. I had to strip off my shirt and jam it into the hole, and hold a foot on to it to keep the boat afloat at all.

It was impossible, in the circumstances, to return her. We had to land, just at the nearest point, draw her up where she would be safe, and scoot for our lives.

We went through the Domain, over the fourteen feet spiked gates of Government Gardens, and across Government Gardens—where Watson came to grief by putting his toe in one of the hoops round a rose bed, turning a complete somersault, landing on his back in the middle of the bed. We picked him up, and some of the more prominent thorns out, and continued the race. As yet we had not stopped even to put on our shoes.

We went over the gates on the far side of the gardens and on to Circular quay. There we pulled up to take breath. They, of course, wanted to know, “was everything all right?” “Had the fuse been lit?” “Would the gun go off?” and so on. I said I’d done everything, but the only thing I had a doubt about was that, in my excitement in driving the pricker down the vent hole, I could not say for certain if it had pierced the flannel bag. If this had not been done, I was afraid the main charge would not ignite, and, of course, the gun would not go off. This was going to be a mighty grievous disappointment; still, we consoled ourselves whilst putting on our boots, with the thought that, at any rate, they would find the Boer colours flying.

At this instant the whole sky lit up with a flash like lightning. Each of us stopped in his tracks, and held his breath. Was it, or was it not the gun? Surely not, with a huge flash like that. More likely lightning.

We waited and waited.

Then it came, and no mistake indeed. There was a crash like thunder, we could feel the concussion even where we stood.

We danced and shouted; threw down our caps and danced on them, and even shook hands, and, in short, behaved like lunatics. We’d done the trick.

We soon realised that it behoved us not to act like imbeciles, or we should attract attention; so, very sedately and circumspectly, we made out way back on board. The Quartermaster had been disposed of when coming ashore by sending him on a wild goose chase to make some coffee, and whilst he was away from the gangway we slipped ashore unseen. Coming back, our luck was still in, and we each got to our cabins without anyone being the wiser.

How we chuckled during the remainder of our stay in Sydney. The noise, the uproar, the jeers and recriminations. Imagine the feelings of the inhabitants when they found the colours of Britain’s hated enemy, fluttering in the breeze, and on the flagstaff of the harbour’s main fortification. Oh! It was great. The military authorities tried to throw the responsibility on the naval authorities, who retaliated by insisting the the Fort was a military garrison, and not their responsibility at all.

Somehow they managed to keep the papers in the dark for a couple of days, with the result that when the papers did get hold of it, they pulled the official leg, until the authorities were jumping mad, and would have cheerfully hung, drawn and quartered the culprits had they caught them, but luckily for our hides, they never did.

Reproduced from the book Titanic and Other Ships, by Commander Charles Lightoller. 1935 (1st edition) Ivor, Nicholson and Watson, London. Hardcover.