No Autographs Please by Katherine Wiles

Reviewed by Norrie Sanders

Next time you find yourself doing some mundane work, imagine what it would be like to be paid to step onto the stage of the Sydney Opera House every night, to perform in front of a cheering audience.

A recent French TV series portrayed an opera company as a hotbed of gossip, jealousy and sexism. Great for TV but, according to Katherine Wiles, light years from her experience.  Her book is a memoir spanning her childhood in New Zealand to being a permanent member of Opera Australia’s chorus. Hers is not a household name in this country, but Katherine’s credentials are impeccable and in a sometimes cash-strapped profession, her seventeen years of unbroken employment as a performer, is testament to her ability.

My colleagues and I are all highly skilled in acting, movement, stagecraft, telling a story, quick costume changes, juggling multiple props, and adapting our characters to whatever scene we inhabit or whatever costume we wear [p6].

Clearly, a chorus member is a talented individual, yet Katherine has often had to justify her decision not to pursue a solo career. In parts of Europe, to be seen as a singer wanting to forge a successful solo career, it is important to exclude all chorus experience from your résumé in order to prove that your sole focus has always been that of a professional artist. I find this sad [p9].

The book is written for young singers and for others who are interested in the art form or wanting a backstage pass [p13]. It is also a generous tribute to the many people that she has worked with – from international soloists to costume changers.

Her descriptions of the many facets of the stage – auditions, rehearsals, costumes, performances – are familiar to anyone who has ever taken to the stage. But Katherine brings us into a world of lavish productions, exquisite costumes, and of course, magnificent voices.  Opera is the main vehicle, but her experience in a world class production of the musical My Fair Lady provides an intriguing contrast of the two genres.

Katherine’s professional journey saw her moving from individual shows to a complex repertoire.  And it was not easy … I had gone from learning two, maybe three full operas a year, to suddenly needing to learn twelve or thirteen … We performed six operas in that first season, and I don’t think I got one performance word perfect [p48]. Learning words and notes is only part of the performance – it is a whirlwind of staged movements, costume changes, acting and sometimes dancing.

The book is very honest about her abilities and occasional shortcomings, but she is careful to avoid being critical of her many colleagues. She doesn’t pretend that there are no conflicts or outsized egos to contend with, but she mentions them briefly and avoids names.  By contrast, the many positive stories are detailed and specific and she is quick to give credit where it is due.

She even devotes a whole chapter to corpsing – the curiously named affliction in which the sufferer laughs uncontrollably on stage at entirely inappropriate places. Apparently, Katherine is world class when it comes to corpsing and despite mortifying a few directors, she is still employed.

Her writing is conversational, but full of intelligence. She balances occasional self-deprecation – and there are many stories told against herself – with the confidence of a consummate professional. A memoir is primarily about the writer, but she is generous to others and many of her colleagues, family and friends come to life. Indeed, in the hands of a different writer, some of this praise could verge on the sycophantic, but in her hands, they are sentiments from the heart.

And some of the passages are wonderfully evocative. In one Wagnerian production, a revolving stage at the opening curtain magically transforms the stage from darkness to a glowing sunrise: …as we keep revolving and the orchestral music continues to build, we know we are revealing a production so special it will be remembered forever…. I suddenly begin to weep, and I am not the only one. The music has completely taken over and it feels like time has stood still [p67/8].

You don’t need to be an opera buff to enjoy this book. Anyone reading it will come away with a heightened respect for the many accomplished people who are needed to stage musical productions. As a performer, Katherine Wiles has proven to be an excellent writer, having crafted a book that warms the heart.

Katherine Wiles has been a permanent member of the Opera Australia Chorus since 2007. She has performed and understudied several principal roles with Opera Australia, State Opera South Australia, New Zealand Opera and several companies throughout the United Kingdom.

 No Autographs Please

(September 2024)

by Katherine Wiles

Bonnier Echo

ISBN: 978 176068 939 1

$34.99 (Paperback); 288pp

🤞 Want to get the latest book reviews in your inbox?

🤞 Want to get the latest book reviews in your inbox?

Scroll to Top