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by Robertson Davies, directed by Jeff Culbert

Ausable Theatre, McManus Theatre, London

September 21-October 6, 2001

"New Life for Davies' Mythic Drama"

Over the past four years the Ausable Theatre has been working its way through the plays of Robertson Davies.  This year they present a real rarity, his symbolic legend "King Phoenix".  This is likely the first revival of the play since Davies directed it for the Peterborough Little Theatre in 1953.  Those who know only Davies' novels will be surprised to find this play set not in Canada in the 20th century but in pre-Roman Britain.  Davies fans will know that even when he uses a 20th-century setting his point is always to uncover the myth and ritual underlying the action.  In "King Phoenix" he gives us the myth and ritual itself without mediation.  Ausable has performed a great service in helping to rehabilitate a fascinating work.

The play begins with a dispute between Cadno the archdruid of Albion and Idomeneus a Phoenician merchant.  For two years Idomeneus has been selling Cadno poison which Cadno has been using in hopes of killing the seemingly immortal king of Albion, Cole.  (Yes, this is Old King Cole of rhyme who is also found in Geoffrey of Monmouth histories.)  Cole has outlived his children, grandchildren and great-grandchildren except for his 17-year-old daughter Helena.  Cadno finds the king's continued good health and procreative ability at his impossibly advanced age unnatural.  Should Cole die, Cadno hopes to have influence through his disciple Prince Leolin betrothed to Helena so he can turn to his goal teaching Albion to dominate nature.  Meanwhile Cole has a mysterious encounter with the ghost of the giant Gogmagog that convinces him of the inevitability of change, whereupon events lead to a conclusion of mingled joy and sorrow.

If this all sounds incredibly archaic and fanciful, it is.  Upon reflection, however, one realizes that while dramas of kitchen-sink realism were becoming popular, other writers like Christopher Fry, T.S. Eliot, Anouilh and Giraudoux were also using drama to explore the realms of myth and legend.  In "King Phoenix" Davies dramatizes not just any myth but the ur-myth of birth, death and rebirth that according to Sir James Frazer's "The Golden Bough" underlies all others.  Under Cole Britain is happy and prosperous, but his unnaturally long life means that the country can never move forward since younger generations live and die without being able to make a contribution.  Cole, after his strange encounter with Gogmagog, comes to realize that Britain has to move from its paradisiacal state of immutability into the state of change if his people and his land are to realize their full potential.  Thus, "King Phoenix" is not at all peripheral to Davies' work.  Since it gives us his view, leavened with his customary wit, of the ultimate story it becomes a key to his work in all genres in its celebration of the beauty and the irony of the cycle of life.

This is the first time the Ausable Theatre has used the McManus Studio, the alternate space under the Grand Theatre.  The production is humble but imaginative and is directed with a clear understanding of the text by Ausable Artistic Director, Jeff Culbert.  He allows the play to build steadily in meaning and and emotion to its very moving conclusion.  The song "John Barleycorn is Dead" that closes Act 2 is the high point of the play as each of the characters begins to realize the import of the song about death and rebirth as they sing it.  Kevin Bice's set consists of a series of poles set at varying angles, suggesting the trees so venerated by druids.  Sculptural plaques hung upon them facilitate changes of scene.  Virginia Pratten's costuming uses shades of brown to link King Cole symbolically to the brewmaster, the shepherd and the merchant who represent various aspects of art.  Michael Semple's lighting is particularly effective in the ominous forest scene of Act 2 and in the climactic sunrise of Act 3. 

In John Turner Ausable has found the perfect actor to embody the larger-than-life figure of King Cole.  Naturally and without cliché Turner moves Cole from his state of immense good humour to the doubt that comes over him in the forest to his drunkenness in Act 3.  His rich voice and great presence make him dominate every scene.  Tim Culbert is excellent as Idomeneus, an outsider who is gradually drawn into the intrigues in Albion and is transformed by them.  Jason Rip has the look and presence for Cole's enemy Cadno, but his inclination to bluster undermines his menace.  The role of Leolin is difficult since the actor must make us believe that the prince's coolness toward Helena and willing acceptance of martyrdom spring from an intense religiosity.  Jan Weir does not quite bring this off, his undercharacterization making Leolin seem weak instead of inwardly strong.  Serge Saika-Voivod as the shepherd Lug uses his fine singing voice to great effect.  Jeff Culbert has wisely chosen not to have the ghost of Gogmagog appear on stage as in the original production.  Instead we hear only the characterful voice of Andrew Gibbes as it seems to move back and forth across the back of the auditorium.  Rachel Holden-Jones is a bright intelligent Helena, while June Cole as Boon Brigit, the brewmaster, brings out all the comedy of this tough, hearty character.

It happened at the performance I attended that Robert Hill, Leolin for Davies' production, was in the audience.  Afterwards he showed all who were interested his own copy of the script and clippings concerning Davies' production.   I couldn't help but think how wonderful it is for the Ausable Theatre to provide this kind of continuity between the past and present.  With "King Phoenix" they show us again how effective and thought-provoking Davies' plays are in performance.  No one who wants to understand Davies or the importance of myth should miss the chance to see this play.

Photo: John Turner as King Cole. ©2001 Ausable Theatre.