BY STEPHANIE ESLAKE
Some might shy away from the challenge of taking on multiple roles in a production. After all, who could possibly build the concept, program the works, write and edit any spoken word, provide artistic direction, and perform – all in one show?
James Beck, that’s who. After a sell-out season in which he did all of those things for the Sydney Art Quartet (including recruitment of iconic actor David Wenham), James has returned to do it all over again.
This month, he performs in Blind Trust – SAQ’s upcoming show starring baroque legend Erin Helyard. Audience members will don blindfolds to listen to keyboard works by Mozart and Bach. We chat with James about the countless skills he’s bringing to this production – and why he doesn’t want you to see him play.
James, you’re quite the all-rounder. Just over a month ago, you designed a sell-out Words Are Weapons season starring actor David Wenham. And already you’re back, now creating and performing in Blind Trust with Pinchgut Opera’s Erin Helyard. How do you do it?!
The debrief is key. It starts backstage, and finishes about a week later when I’ve finished checking in with my quartet colleagues, our guest artist, board, partners, subscribers, sponsors, and read the reviews (I read them, everyone does). That should be enough data to tell me what we got right and what needs work.
Then, it’s time to let it settle. I run, practice, swim, study scores, read books, listen to recordings, trawl the net, and get inspired.
And then it’s time to crank it up again.
Many would think that the role of artistic director is full enough – but you choose to perform with SAQ, too. Why do you like giving your all to both roles?
I totally agree – being an artistic director is a responsibility, but also a privilege that I sweat and make sacrifices to do. And the pay-off is realising my own design, and feeling the honesty of the creative moment we all crave in some way.
What does working as an artistic director teach you about performance?
That the performance has got to fly! It should be a cannon packed with a confetti of talent, meaning, preparation, training, staging, repertoire, substance, and teamwork. Then, it’s time rip the cord and let it fly! Let it float down on those lucky punters.
On the flip side, what do you think other artistic directors should consider when thinking of the needs of their performers?
Any decent performer has stood at crossroads and made choices that serve the art. Sometimes, that means partners, holidays, houses, and cars have come second to the art. Sometimes, not even second.
As an artistic director, how are you going to honour those choices? That is what an artistic director should consider.
Tell us about Blind Trust. Where did you get the idea to give audience members a blindfold to listen to HIP music?
The blindfold concept is about engaging with 18th Century notions of party games, intrigue, and masquerade – dress-ups! These are the kinds of games that we know Mozart enjoyed playing – from his letters and from the scenes depicted in his operas. Isn’t personal experience the best way of being informed?
Secondly, it’s purely sensual. We’re animals. Turn one sense off and the others sharpen their game.
What do you imagine the audience will gain from this unique experience?
What does a Mozart fortepiano concerto really sound like? If you haven’t sat in the AA reserve seating of a concert hall, or are not a professional musician, how would you even know? Our venue is the Yellow House – all on the one level, maximum 60 people each night, keyboards and quartet at arm’s length from the audience. And then, Erin will back it up with the epic Bach Harpsichord Concerto BWV 1052. And these are works written with our forces – one player per part – in mind. How often do you hear all that on the one ticket?
Will you be playing with a blindfold, too? Or will you get to peak out at an eerie-looking audience that’s looking your way, but can’t see you?
No blindfolds for us – the treat is for the audience, we are their servants. And, of course, half of them will cheat…which is, of course, their prerogative.
How have you been conspiring with Erin Helyard behind the scenes?
Erin is an old friend. It is always delight to work with such a gifted and hard-working artist. Amazing! Poor man trusts me. Hence the title.
What advice would you give to emerging musicians who might also want to work as artistic directors within their own projects or careers?
Get a vision, build a team, get practical, and don’t accept less than the best – from everyone and yourself.
See the Sydney Art Quartet present Blind Trust with Erin Helyard (above) from 10-12 October in the Yellow House Gallery.
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If you like, you can give thanks to Stephanie for volunteering her time for Australian arts journalism. No amount too much or little.
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