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With only a score and a few scribed margin notes for guidance, Christopher Cowell (Director) and Bridget Kimak (Designer) have had the delight of defining the focus and look of the new Opera.
The centre of the plot is occupied by the Maelstrom – a Viking word, coined to describe the treacherous whirlpool which lies between the Norwegian mainland and the Lofoten Islands. The word was well known to the Victorian public, following the publication of Edgar Allen Poe's poem “A descent into the Maelstrom”.
Inspired by the mystical world of the Norwegian artist Odd Nerdrum, Bridget Kimak's set consists of a series of simple lines suggesting the constant swirling of water, around and in which characters move. The costumes have also been conceived in a visionary style because, apart from a few archaeological remains, nobody really knows how the Vikings actually dressed.
Samuel Coleridge-Taylor had obviously done some research about the Viking culture and myths before he wrote the Opera. However, there are a few incongruous details, like the devil Djaevelen sniffing snuff, which has been retained in a desire to remain faithful to the original text.

As Alberto Sousa our Portuguese tenor soloist – playing the part of the hero Eric – has discovered,

The joy of this work is the fact that Samuel Coleridge-Taylor clearly understood the voice and how to use it to greatest effect.

As Music Director Jonathan Butcher has commented, “We are explorers without sat nav, maps, or compass”. The excitement of a totally new opera is discovering the melodic paths and interpreting the composer's hints and signs.
Yet what emerges is a vivid and carefully crafted musical work, fully accessible to a modern audience. Living in the early twentieth century, it is easy to see why Samuel Coleridge-Taylor was Stanford's star pupil at the Royal College of Music. His orchestrations are stylish whilst supporting the action and singers. Jonathan Butcher also believes that Coleridge-Taylor was strongly influenced by the music of Dvorak whom he greatly admired.
When the production was first mooted, whilst the Company was on tour in Cornwall, Stephen Anthony-Brown bravely offered to undertake the transcription from Samuel Coleridge-Taylor's “spidery” original hand written text – yet 600 hours later he is still enthusiastic about the work and will be appearing as the Neck King. Surrey Opera is very much in his debt.

Never heard of “Thelma”? Well now is your chance!
Musical works that have never been performed usually have an interesting story behind them – either they are lousy, unfinished, or the composer felt dissatisfied with it, but none of these reasons apply to “Thelma”.
Written between 1907 and 1909, Samuel Coleridge Taylor clearly expected his opera to be performed, but as Catherine Carr, who discovered the manuscript tucked away in the British Library in 2003, said,

The thing I've not been able to understand is why it wasn't staged. Van Moorden, the artistic director of Carl Rosa Opera, refused to stage it and Coleridge-Taylor was bitterly, bitterly disappointed.
People have said there were insurmountable staging problems. I don't know. Maybe the technical demands of that time were too problematic to engineer. Certainly it cannot have been the music, the quality is such, it couldn't have been that!