William Shakespeare’s ‘Macbeth’ – Shakespeare’s Globe
19 Jun 2010 2 Comments
With a famously dark play like Macbeth, a play that some actors and directors won’t even perform because of “the curse”, it seems appropriate, necessary even, to completely throw yourself into that damned, bloodthirsty world. Lucy Bailey’s new production at The Globe is about as bloody and dark as it could be – a sign outside the door reads “This is a gruesome production of a brutal play” – and yet, it isn’t too much. In amongst the groundlings, writhing, bloody bodies desperately claw at the audience, screaming and moaning in pain, and onstage things are just as callous. The stage was hung with black curtains and populated by men in black outfits, before an audience whose heads popped up through slits in a huge black cloth – enabling the weird sisters and the damned souls to roam the audience, sliding between us and frightening everyone. Characters appeared from every direction and in the audience, once you had found where to stand, you really were pretty much stuck where you were, trapped in the middle of the action.
As the weird sisters (witches) Janet Fullerlove, Simone Kirby and Karen Anderson wore red and had sickly white painted faces. Between the three of them, they worked the entire stage, glaring with weird intensity at the audience and spitting their lines out, cursing everyone. They were brilliantly bizarre and, for lack of a better word, utterly witchy.
James Clyde’s Duncan was powerful and regal right up until the point of murder. He commanded the stage and spoke clearly. True, he didn’t bring anything new or astonishing to the part, but he played it with complete conviction.
Meanwhile James McArdle gave a spectacular performance as Malcolm, almost stealing the show from his more senior co-stars. He was funny and powerful and youthful all at the same time, displaying an incredible understanding of the part and showing us just how wonderful a role Malcolm is. This was especially poignant in his scene with Keith Dunphy’s Macduff, where the two came together and created a powerful display of what it is to be masculine. Despite the fact that Macduff is not named for quite some time, the moment Dunphy stepped onstage it was clear who he was playing. Pacing the boards with casual but strong difference, balancing the role of a ruthless man of action and a good hearted avenger perfectly.
In the role of Macbeth, Elliot Cowan just about managed to outdo his co-stars – which is necessary when playing this part. His voice was naturally quite low and soft, but in an almost warning way, rather than a soothing way. He growled and purred through his lines, his danger and fear haunting every word. Likewise, his physicality was wonderful. He strode the stage with a power he seemed almost afraid to hold. Furthermore, his scenes with Lady Macbeth, played by Laura Rogers, were fraught with palpable tension, their chemistry clear and evident. Alone Rogers was equally impressive, owning the part entirely, displaying first a cold, cutting understanding of the world of men she lived in, and then a bloodthirsty desire for power. This was made all the more poignant in contrast to her “I have given suck” speech”, which was spoken with intense, haunting calm.
By comparison Christian Bradley’s Banquo was the epitome of good and honest. His friendship with Macbeth was loyal and strong and his relationship with his son was heartwarming. He delivered his lines with power and understanding. In short, he was the ideal Banquo.
Finally special notice should also be made of Frank Scantori as the Porter. Delivering perfect comic relief he had the audience laughing and wincing in equal measure. Perfect entertainment.
In short, this is a practically flawless production that will quite rightly have you wincing in pain and disgust as often as you are amazed or impressed by the skill and overall inspiration of the production.
Macbeth, directed by Lucy Bailey for Shakespeare's Globe 2010
Oscar Wilde’s ‘Salome’ – Headlong Theatre and Curve Theatre, Leicester – Theatre Royal Brighton
18 Jun 2010 Leave a Comment
As Wilde goes, Salome is certainly not typical, and Jamie Lloyd’s new production pushes it further. Hailed as ‘experimental’ companies, Salome seems like perfect material for Headlong Theatre and Curve Theatre, Leicester, and it definitely yielded some interesting theatre – although not all good.
The stage was set, or rather stripped, by Soutra Gilmour, to create a powerfully raw atmosphere. Being able to see the lights, wires and all, the black back wall of the Theatre Royal Brighton, the hollowed out, curtainless wings, really brought the true, dark emotions to the forefront. However, the decision to have a two tiered raised stage on the actual stage did annoy the lines of sight. Furthermore, the costume designs (also the work of Gilmour) seemed unjustified. The cast were robed in torn up army uniforms, complete with guns and black boots – but there didn’t seem to be any reason for it. Why our seductive Salome had elected to wear a khaki one-in-all suit was a mystery, and Herod’s decision to wear a mesh tank top with his parachute trousers was even more confusing. From the action on stage we were to understand that inside Herod and his guests were enjoying a tacky disco in a gritty town, which only served to increase my confusion over their attire.
The cast was a mishmash of talent and extremism. As the Young Syrian, Narraboth, Sam Donovan was clean cut, but far from cutting. He seemed too whiny to be a man of action, and not enamoured or devastated enough to justify his suicide. Donovan spoke very well and made a dramatic opening, but his performance was not quite raw enough to warrant the kind of behaviour displayed by Narraboth. Zawe Ashton gave an interesting and somewhat daring performance as Salome. Playing the Princess as a nervy, fast-talking, party girl made her seduction of Narraboth very apt, and her I-want-it-now attitude towards Iokanaan extremely relatable. However, the other side of this character seemed to be one of casual indifference, which made her demands (after dancing) seem flippant and unlikely; It seemed unlikely that a party girl princess and serial seductress would care enough to demand the death of a prophet. Similarly, Con O’Neill’s Herod was so far removed from reality, that when Salome made her request, his anger and fear appeared to have come out of nowhere. As a man of no faith and even less sanity why would he care about the life of this prophet? Having said that, for what it was O’Neill gave a strong performance, committing entirely to the role he was playing and the way he was playing it. Without a doubt the strongest performance came from Jaye Griffiths as Herodias. She was the perfect mix of sultry seductiveness and painful desperation. Initially self-assured and fun loving, Griffiths slowly let Herodias’ neurosis unravel until she was begging her daughter not to dance and finally laughing manically as the demands were made. She even managed to outshine and out-act her ridiculous outfit (complete with denim shorts and a metal studded shoulder). A brilliant portrayal and updating of this most tragic queen. Less impressive was Iokanaan, played by Seun Shote. His voice was powerful when projected through the speakers from below the stage, but further than that it was a largely unremarkable performance. Being shackled and chained between two guards, almost forced to bend to Salome’s will gave him some credibility as he recoiled from her touch, but largely he played it by the book, uninspiringly.
The rest of the cast – Richard Cant as the Page of Herodias, Vyelle Croom as Naaman, Nitzan Sharron as the Cappadocian, Tom Byam Shaw as the Nazarene and Tim Steed as the Jew – gave no stand out performances, but worked very well as an ensemble. Their constant movement kept the stage alive and their writhing bodies created a strong sense of brutality.
Jamie Lloyd’s direction wasn’t quite as experimental as I had expected, which wasn’t necessarily a bad thing. The decision to have a light change and haunting music every time Iokanaan spoke from offstage was initially powerful and striking, but after three or four times became somewhat repetitive and monotonous. Other than that, the blocking was brilliant, always keeping the combination of people onstage interesting and visually stimulating. However, the amount of sex and alcohol reference made the whole production, with it’s dark smoky exterior, rather adolescent. It was like looking into the darkest recesses of a suicidal teen’s mind – albeit a very smart, quick witted, silver tongued teen, but a teen nonetheless.
Moody and atmospheric, this is a somewhat daring production and it is hard to imagine a Salome quite as raw and honest. I found it deeply inspiring, but unfortunately most of my inspiration stemmed from a desire to do things oh so differently. I’m glad I saw it, but once was quite enough.
Salome, Theatre Royal Brighton 2010
Mozart’s ‘Le Nozze di Figaro’ – Royal Opera – ROH
17 Jun 2010 Leave a Comment
in ROH Reviews
Where do I begin? Upon leaving the Royal Opera House after David McVicar’s 2006 production of Le Nozze di Figaro, I felt, as a reviewer, that there was one major flaw with this production: McVicar had left me with nothing to criticise. I tossed and turned, trying to sleep that night, haunted by the idea that this might be – dare I say it? – a perfect production, and that if that was the case I would actually have to say, in my review, that it was perfect. Having had almost two days to reflect I have decided that there are one, maybe two minor things (which didn’t even occur to me during the performance), that perhaps could have been better. But in the grand scheme of things I will be extremely surprised if I ever see a better production of Mozart’s masterpiece (said by many to be “the most perfect opera ever written.”)
All the designs, costume and set, were the work of the talented Tanya McCallin. She is also responsible for the sets for the Carmen, also currently playing at the Royal Opera House. It is evident that she favours large pieces of scenery, creating walls, and often with a very limited palate, which so far seems to work very well for everything she does. Not only was the household of the Count and Countess grand, but it also moved with beautiful fluidity, making every scene change a joy to watch. Furthermore, Paule Constable’s lighting design illuminated these sets magnificently. Mostly creating the effect of daylight, every time a window was thrown open the light that filled the stage was just breathtaking.
Upon this spectacular stage was an equally spectacular cast; returning to the role of Figaro after playing him during this production’s premiere was Uruguayan baritone Erwin Schrott. I cannot begin to imagine or dream of a more perfect Figaro. His voice filled the opera house with rich low tones and soaring high notes. Furthermore his physicality as an actor was superb; almost every moment he was onstage made me smile or laugh. He was just brilliant.
Playing opposite as his Susanna was Jette Parker Young Artist, Eri Nakamura. One of the greatest joys about being a regular at the Royal Opera House is being able to to see the JPYAs grow and evolve into these great roles, and for me, none is more enjoyable than Nakamura. From the Fifth Maid in Elektra to Musetta to Susanna, she never fails to impress me. Her voice is light and agile, but also carries weight and meaning. Like Schrott her physicality was superb, sweet and funny, her scenes with the Countess and Cherubino were especially brilliant, not to mention the Count.
As Bartolo and Marcellina, Robert Lloyd and Marie MacLaughlin were also wonderful. Ever entertaining and funny their voices were beautifully matched and their scenes were a joy to behold.
Replacing the originally advertised Christine Schäfer as Cherubino, was Lithuanian mezzo Jurgita Adamonyté. Although I initially felt that she was too feminine to play the young lover, Adamonyté very quickly turned into a rascal of a young man, and utterly proved herself in Cherubino’s aria “Voi che sapete”, when her voice floated over the audience, and her eyes were bright with joy. Even with the uncertain start, she very quickly won me over.
Mariusz Kwiecien’s Count Almaviva was something else entirely. Stern and sexy, he played the man of power and the seductive playboy with equal talent and relish, flashing smiles and terrifying frowns. I was utterly entranced and almost had a hard time understanding why Susanna wasn’t in love with him. His voice was deep and rich as it flowed over us all, and every time he sang with someone else he enhanced their voices as well. I particularly enjoyed his scenes with the Countess, sung by German soprano Annette Dasch. Together they were fabulous, fighting over and sharing the tension equally, and alone, Dasch was equally wonderful. From her dramatic entrance at the start of Act II, through her aria “Porgi amor” and beyond, she was full of a beautiful sorrow, just allowing the audience a glimpse of the strong woman behind her glittering eyes. Furthermore, her voice was spectacular, receiving applause almost every time she sang.
Finally, one small mention must be made of Amanda Forsythe’s Barbarina. Forsythe’s voice was beautiful and she completely brought this small part to life.
The Chorus of the Royal Opera House, directed by Renato Belsadonna, were on top form, filing in as Mozart intended, and warming the whole theatre with their voices and smiles alike. Meanwhile Sir Colin Davis was working his magic with the orchestra. I was only sad not to be able keep my eyes off the stage and give the orchestra some time as well, but they truly were wonderful, supporting and complimenting the singers throughout. Furthermore, I have never heard the overture (which happens to be one of my favourite pieces of music) sound quite so good.
I cannot find enough adjectives to praise this production. Needless to say McVicar is a master of his art. The only part of the direction which didn’t completely satisfy me was his decision to make every funny event a moment of passing subtlety. It may be a cheap shot, but I look forward to the Count’s reaction when he discovers Cherubino in Susanna and Figaro’s room, and with McVicar I didn’t get the almost-pantomime hilarity of the moment. On the other hand, since every other director out there seems to have that covered, perhaps it is nice to see someone deal with comedy a little differently.
Without a doubt the best Mozart I have ever seen, and am ever likely to see. An incredible evening and one which I hope they will revive again and again and again and again…
David McVicar's production of 'Le Nozze di Figaro', ROH 2006
Bizet’s ‘The Pearl Fishers’ – English National Opera – The London Coliseum
14 Jun 2010 Leave a Comment
in ENO Reviews
As I sat watching Penny Woolcock’s new production of The Pearl Fishers at ENO, I wondered if anyone had ever had as unique a night at the opera as my fellow audience members and I were enjoying. At 7.30pm, once we were all seated and the lights had gone down, John McMurray, the casting director of the English National Opera, appeared before the curtain with a brief announcement; Mr Alfie Boe, who had been cast as Nadir, had a serious chest infection and was unable to sing. His understudy, Mr Christopher Steele having the same infection couldn’t sing either, but was there to act the part of Nadir. He finished this ridiculous announcement, which received much laughter, by introducing us to our stand-in Nadir; (forgive the paraphrasing) “We were lucky enough to find Mr William Burden, who has been in rehearsal at Glyndebourne, and has some knowledge of the part, and will sing from the side of the stage. (Pause) However, he will sing in French.” The audience exploded in laughter and applause, and Bizet’s somewhat forgotten masterpiece began in an altogether unpredictable, unplanned and unintended way.
As the laughter subsided and the first few notes played out, a very different mood came across us all. Woolcock’s production begins with pearl divers swimming to the bottom of the sea and scouring the ocean floor for oysters. It’s beautiful and captivating and left me wishing that Bizet had written a longer overture. Likewise, the sets – all designed by Dick Bird – for Act I and the second half of Act III were just astonishing. Houses set on rickety looking wooden structures were decorated with colourful washing lines, hardworking people and playful children, all brightly dressed by costume designer Kevin Pollard, teetering above the reflective stage, which was the sea. The lighting was beautifully done as well, and the space was used incredibly well, despite being very restricted. The sets for Act II and the beginning of Act III left something to be desired. Act II saw Leila at the temple – a small shrine and a wire fence which Nadir had to climb over. On it’s own the set would have seemed flat, but after the depth of Act I, it was utterly two dimensional. Likewise Act III scene 1, which took place before the curtain in a tent shaped grey cloth, was flat and devoid of the life and colour enriching the rest of the production.
Hawaiian baritone Quinn Kelsey’s Zurga was by far the most impressive presence on the stage. His voice easily filled the Coliseum and he played the role perfectly. The character had my utmost respect as a leader, and my deepest sympathy as a lover throughout. Nadir, the creation of an interesting union between Christopher Steele and William Burden, seemed to work well, despite the difficult situation. Steele played him as a typical young man, vivacious, full of wanderlust, and completely infatuated with Leila. Meanwhile the French lines, sung by Burden, weren’t quite as distracting as I had anticipated. After the initial laughter when Nadir spoke/sang and Zurga turned a confused face to ask “What do you mean?” everyone seemed to get over the novelty and we simply got to enjoy Burden’s rich tones. Having a clear advantage from the side of the stage, his voice soared to the back of the Coliseum and melded beautifully with Kelsey’s Zurga and Leila, who was sung by Hanan Alattar. Alattar’s performance was the only one which I felt unsure about. Her voice was strong in volume, but stronger in vibrato. While this does suit the part, I missed the subtleties of most soprano voices. When the vibrato is so constant it becomes line after line of showboating, rather than performance. In terms of acting, Alattar did beautifully, floating like a priestess, and falling like a lover.
Lead by chorus master Martin Merry, the chorus of the English National Opera were strong and vibrant, but no where near their best (their best being in David Alden’s Peter Grimes last year). While I enjoyed the unity and force of their sound, I felt like reminding Merry that there is something to be said for those quieter moments as well. The orchestra on the other hand were full of subtle moments. Under the baton of the young Rory Macdonald they yielded wonderful things. Again, not the best I’ve ever heard them, but I also have no big complaints. Just very pretty really.
Penny Woolcock’s direction was everything the music predicted, and thus worked very well. Nothing groundbreaking, but when it was beautiful it was something quite wonderful to behold.
This new production is astonishing at best, and a little dull at worst. Full of bright moments, you just have to wait for them. But the main thing for me remains being able to hear someone sing in French at ENO; I can’t deny feeling a slight sense of triumph at the news, after all my wishing and hoping. As much as I enjoyed my evening, I’m not sure I would go back; one night fed my interest, but didn’t leave me with much.
Poster for Penny Woolcock's 'The Pearl Fishers' at ENO, 2010
BP Big Summer Screens – Bizet’s ‘Carmen’ – Live from ROH, to Trafalgar Square
11 Jun 2010 1 Comment
in ROH Reviews
Having attended BP Big Summer Screens in 2009 for Caurier and Leiser’s Il barbiere di Siviglia there was no doubt in my mind that I would be back – even though I had sat in Trafalgar Square last year while it poured with rain, my designer shopping bags growing soggier by the minute. However, this year me and my three enthusiastic gal pals were blessed with beautiful weather and fantastic atmosphere for Francesca Zambello’s Carmen.
For those who don’t already know, BP Summer Big Screens in association with the Royal Opera House has been running for about 20 years, and every Summer they offer aprox. two operatic productions and two ballet. The events are free and they draw people from far and wide (opera fans and music fans and theatre fans and fans alike), armed with picnic baskets and – yes – anoraks, to major city squares around the UK. Whether you are an opera fan or not, everyone seems to love them and the events always get wonderful responses. Furthermore, as someone who spends a lot of money on opera tickets and thus sits in opera houses judging very carefully whether she has got her money’s worth, it is relaxing to see something and just be able to enjoy it.
BP and ROH began this season of Big Screen events in unique fashion, with a nationwide sing-along of Escamillo’s Toreador song, which united the crowds wonderfully and, aside from anything else, was just good fun – even if the English translation was near-unbearable. The evening was presented by Deborah Bull at the Royal Opera House, and Gareth Malone at Trafalgar Square, who provided a lot of interesting information and kept the atmosphere wonderfully upbeat. We were also treated to works of the runner-ups and winner of ROH’s ‘40 second film version of Carmen’ competition (excuse the bad explanation – the real name of the competition escapes me) in the interval. While the runner-ups ranged from the weird to the surreal, the winner was a really wonderful little film which kept audiences smiling – for 40 seconds at least.
I have already reviewed this production of Carmen, so I won’t bore you by going through sets and costumes and direction all over again. You can read it here: http://operagurl.wordpress.com/2009/10/14/bizets-carmen-royal-opera-roh/
So, having covered the fun of the evening, let’s turn now to the singers. With a fresh new cast every season I should imagine that it will be a whole before anyone tires of this Carmen. Having said that, the cast I saw in October – which included Elīna Garanča, Roberto Alagna, Ildebrando D’Arcangelo and Eri Nakamura – was almost unsurpassably brilliantly. Taking on the role of Carmen was English mezzo-soprano Christine Rice. While she had all the energy and bravado needed for Carmen, she simply didn’t look like the woman Garanča had offered in October. Having said that, Rice’s voice was superb and in the second half I even managed to stop comparing her to Garanča and see what a wonderful Carmen she was in her own right. Strong and fiery and beautiful in a weirdly alluring way. I think it may be a case of Garanča having played the ultimate Carmen and thus, for me, no one else being able to outdo her, but speaking objectively, Rice gave the audience everything they needed from a leading lady.
In October I also believed I had seen the ultimate Don Jose in Roberto Alagna, but Bryan Hymel proved himself just as astute and brilliant as his predecessor. Throughout Carmen, Don Jose seems like such a weak person; true, he has some beautiful music, but ultimately he always appeared to me as something quite pathetic. However, this always changes in the final act, when he finds the strength to actually kill his seductive lover. That final scene is the true measure of any Don Jose, and Hymel certainly proved himself there. I couldn’t take my eyes off the screen, so powerful was his performance. This was clearly a man torn apart by his desires and his duty – absolutely astounding. I wouldn’t dare to say who was better, Alagna or Hymel, but both made my heart pound. Although it is hard to judge over the sound system at Trafalgar Square, I think it would be fair to say that Hymel gave an extraordinary performance and his voice was truly astounding.
Aris Agiris gave Escamillo all he required, but no more. His was the only performance to which I felt largely indifferent. He filled the role, but seemed little more than a prop to keep the story going. This isn’t to say his voice and his acting weren’t good – they just weren’t groundbreaking either. Same goes for Paula Murrihy’s Mercédés and Elena Xanthoudakis’ Frasquita – the only difference being that their performance interested me more due to their duet (Mëlons! Coupons!) being my favourite of the opera. They both sang clearly and beautifully, but gave nothing special to the parts compared to Louise Innes and Eri Nakamura back in October.
Under the baton of Constantinos Carydis the Orchestra of the Royal Opera House yielded very few subtleties, but made every moment of power as dramatic as possible. Not the perfect performance, but perfectly enjoyable. As usual the Chorus of the Royal Opera House was on top, powerful form under Renato Balsadonna.
In my humble and largely inexperienced opinion, these events rely very little on the opera being shown. Provided whatever is onscreen has some charm for you – whether it be the opera, the director, the singers, the conductor, the production – you can always enjoy the atmosphere. Without a doubt one of the best nights I have ever spent out in London.
NOTICE: BP Summer Big Screens presents Simon Boccanegra live from the Royal Opera House on Tuesday July 13th at 7.30pm, featuring Plácido Domingo in his first ever baritone role for the Royal Opera.
Francesca Zambello's 2006 production of Carmen at ROH
