Enoch Arden

I remember when I was a child my mother or father used to read to me every night. It was one of the highlights of my childhood. Enoch Arden is a welcome return to those days. It is story-telling for adults, heart-rending and sophisticated.

Enoch Arden, written by Alfred, Lord Tennyson, tells the story of a happily married fisherman who suffers financial problems and becomes a sailor. In the course of his travels he is shipwrecked, and, after 10 years on a desert island, returns home to discover that his wife, believing him dead, has remarried and has a new child. Not wishing to ruin his wife’s new found life, he confides in a local tavern keeper’s wife but vows never to see her again.

In 1897, Richard Strauss set the poem as a recitation for speaker and piano, published as his Op. 38.

It was also made into a film in 1915 starring Philip Ray and megastar of the day, Lillian Gish.

Once again, the Space Theatre proves its adaptability, bleacher-style seats on two sides, a Steinway Grand, an old battered chair and evocative lighting are all it takes to set the scene for the tale that is to come.

However, before the poem itself we are treated to two sonatas by Schubert and Brahms superbly played by Simon Tedeschi, dressed in cable jumper and slacks. Not his usual concert attire, but serving to further plunge us into the theme of this epic poem.

Tedeschi always immerses himself in his music and these two ‘sturm und drang’ pieces are no exception. He is a true master of the pianoforte.

John Bell is well known as the founder of the Bell Shakespeare Company among many other roles. His experience shone as he told the tale of Enoch Arden, dressed in only a fisherman’s jumper and slacks and carrying a leather-bound book. A test for any actor.

Bell drives the tale with unbelievable pace, scarcely pausing at times to take a breath. This ensures that we are swept up in the story and maintain our interest throughout the 60 minutes.

His voice soars above the piano accompaniment and runs the gamut of emotions from the faintest whisper to intense grief to anger. It is a virtuoso performance and the synergy between these two performers was obvious.

Tedeschi’s interpretation of the Strauss score is intense. He plays with his whole body and lives every note. The silence during his quieter moments are proof he is able to establish a real rapport with the audience using the language of music.

There is no denying that Enoch Arden is a long tale, however the merging of Tennyson’s words and Strauss’s music along with the performances of these two masters of their crafts ensure that the audience’s experience is memorable.

Although the Space Theatre is a very versatile performance venue, I would have liked to have seen this piece performed in a more intimate setting. Being closer to the performers would have enhanced my experience.

On a side note, I was perplexed that, at the first performance (which was not full) there were not enough programs for the audience. This is strange since there was still a second performance that day. However, this was rectified at the end of the performance.

It is refreshing to see the Adelaide Festival Centre present productions that combine different art forms and is a pity that Enoch Arden is only being presented twice as it is the only chance Adelaide will get to see this unique piece of theatre performed with such finesse.

Barry Hill

Photo by Marg Hansen