On the occasion of the centenary of the birth of Sir Charles Court Address by Max Page, Argyle Ballroom, Parmelia Hotel, 29th September 2011

The Gilbert and Sullivan Society is most honoured to be invited to participate in this celebration of the life and works of a man who was our patron for some 33 years.  I should also like to say a very few words about the contribution of Sir Charles to the performing arts in general as well as to our own Society.

Sir Charles accepted the role of patron of a Society in 1974 a year in which he took on another unimportant role – I think it was the premiership of WA!

Now we know that patrons can be very hands off, simply giving a polite nod to an organization and allowing their names to be present on the letterhead.  That was not, of course, his style.  He was never intrusive in the internal workings of the Society but always available to give advice when requested.  In particular I would like to acknowledge his advice and assistance when we set up a special Trust to manage some of the financial affairs of the Society.   That Trust, The AN Bullock Foundation is, in fact now chaired by another Court, Victor, so there is something of a family tradition.

The State owes Sir Charles a great debt for his personal interest and involvement in a number of artistically related projects.  His role in the establishment of WA Art Gallery and the WA Academy of Performing Arts were notable achievements, as was the purchase of His Majesty’s Theatre by the State Government in 1977 and its subsequent renovation.  The outcome of the renovation was absolutely stunning and we have, in Perth, probably the only truly Edwardian theatre in Australia but with all of the facilities needed for modern operatic and other stage performance.  This due in no small part to the personal influence and interest of Sir Charles.

The Gilbert and Sullivan Society did not, of course, have exclusive rights to Sir Charles’ patronage, as he was also patron of the WA Opera Company, the City of Perth Band and many other performance bodies in Perth.

And of course his interest in music was not simply that of an interested listener. Under his father’s Salvation Army influence he played cornet as a boy and at the age of 19 won Champion of Champions at a contest in Tanunda; he also joined the musicians’ union at age 14.  I do not think that he ever missed one of our opening nights and it was always a great thrill for the cast when he would ask if he could go backstage and address them afterwards.  They all loved it.
I well remember sitting alongside him and Lady Rita Court at an opening in His Majesty’s Theatre and Lady Rita saying to me, “of course, Charles paid off our second mortgage in that orchestra pit”!

When His Majesty’s Theatre was reopened after renovation in 1981 Sir Charles was, in fact the first person to speak on the stage at the special concert.  He quoted the opening lines from Leoncavallo’s opera, I Pagliacci, which is actually a play within a play.  Tonio comes on with the line (slightly paraphrased), “A word, allow me; I am the prologue”.  Sir Charles was indeed the prologue for many fine things which followed.

And I am the prologue now!

It is fitting that we should be here this evening to present some of the sort of entertainment which he enjoyed.  With you this evening are some of the principal performers for our 60th Anniversary season of The Gondoliers (yes, it is time for the commercial) which opens at the Octagon Theatre next Thursday for a two week season.

So let us welcome Katherine Freind, Courtney Pitman, David Cosgrove and Justin Freind, accompanied by the wonderful Jan Garrity.