Review: The Riders

The Riders
Victorian Opera & Malthouse Theatre
23 September 2014
Merlyn Theatre, Coopers Malthouse
to 4 October
malthousetheatre.com.au

Photo by Jeff Busby

Victorian Opera and Malthouse Theatre have created a new mainstage Australian opera. How exciting! And it's an adaption of Tim Winton's The Riders, a dream-fit for opera. This is worth being excited about.

The Riders is a personal and affecting story with a scope that's beyond the reach of its characters. Aussie bloke-man Scully yearns for hot sandy beaches but searches his past in Europe for something more than what he wants. As the line between imagery and reality is blurred, it's never clear if it's all happening in Scully's head or if he's lost in the mythology of the horses and riders who follow him.

Scully is renovating a cottage in Ireland for his pregnant wife, Jennifer, and daughter, Billie, who went back to Freemantle to sell their house. When Billie arrives at the airport alone and traumatised into silence, Scully takes his child and searches for Jennifer in the places they recently stayed in Europe.

Alison Croggon (libretto) and Iain Grandage (music) haven't translated the book for the stage – which belongs in the pages it was written for – but have found a vision of the story that condenses Scully's arc, gives a voice and presence to the book-invisible Jennifer, and leaves only three minor characters for the chorus of three.

Croggon's libretto combines grabs of the poetic text and so-Winton symbolism of the book with a poetry of her own that muses on Winton's subtext and, by having Jennifer on stage and letting the audience know more than Scully, lets the drive of the work be Scully's anguish and his spiralling down rather than about the unanswered questions of Jennifer's disappearance.

Grandage's music lives in the emotions of the characters. From hints of liturgical music to bird songs, galloping riders and the ever-building storm, we can hear their hearts and are drawn into the psyches of people who make dissonant decisions on their quest for harmony. And Richard Mills (conductor) creates a sound balance between stage and pit that lets the singers shine and fills the space in ways that question why we don't see more opera in the Merlyn.

Marion Potts's direction focuses on Scully's immediate story. Working with Dale Ferguson's design of manly wooden saw horses that contrast with Jennifer's world of clean light and soulless airports, it allows for a powerful connection to Scully and Billie, but it also lets Scully's journey to hell feel safe and controlled and there isn't a palpable fear for the child he drags down with him.

In being so connected to Scully, it also seems to underplay its epic and the mythological elements. I could see The Riders in the libretto but despite the constant "horses", The Riders presence isn't clear on the stage. In a similar way, a sense of place is missing. For an Australian story that's set in Ireland, Greece and Paris, the sounds and heat of Fremantle are what make the northern hemisphere ruins and cathedrals so foreign to Scully.

Barry Ryan (Nixon in last year's wonderful Nixon in China) is Scully. He's not as young and scruffy as the Scully readers might expect, but any expectations disappear in moments as he shows the contradictions and torment of man who has to lose everything before he can begin to see a future. The broken-family trio is completed with Jessica Aszodi, Jennifer, and Isabela Calderon, Billie, who bring an honesty to their characters that creates a hope that everyone can be happy, even though we know that their time together has to end.

Jerzy Kozlowski, David Rogers-Smith and Dimity Shepherd are the remarkable chorus who let Grandage play with a trio of voices that demand to be listened to while they watch and comment and become the people Scully needs to find.

The Riders is an exciting and important new piece of Australian opera and theatre. It's grand and intimate and positions Australian opera as something that's uniquely ours without letting go of the traditions and cultures that have brought us to this point. I'd love to see it in a major festival and hope that it returns with new interpretations from opera companies in Australia and all over the world.

This was on AussieTheatre.com.

Review: La traviata

La traviata
Victorian Opera in association with Fondazione Pergolesi Spontini
17 May 2014
Her Majesty's Theatre
to 29 May
victorianopera.com.au

Photo by Jeff Busby

Victorian Opera's much-anticipated La traviata is presented in association with Fondazione Pergolesi Spontini (the Pergolesi Spontini Foundataion) who run an opera house in Jesi, Italy, that was built in the late 1700s. You can imagine how much the original 1992 production oozed with connection to place and time and culture, but I'm not sure why Victorian Opera transported it to Australia.

La traviata is the opera non-opera fans know. It's the story of courtesan Violetta who gives up the life of sexy whoring and lavish parties for lover Alfredo and a quiet life the country. Alfie's dad isn't impressed, especially as his daughter is trying to be respectable and having a brother associated an un-unmarried prossie is a problem. But Violetta is all heart and gives up her love and has plot-convenienet consumption.

With the original director, Henning Brockhaus, and the famous – extraordinarily beautiful angled mirror with painted floor clothes – design by the late Czech designer Josef Svoboda, it's the Italian production with an Australian cast.

And the cast are stunning.

Australian Soprano Jessica Pratt is best known in Europe and her Australian debut as Violetta is astonishing. This is singing that stops you dead and dares you not to listen. With clarity like an untouched mountain spring, she finds the emotion in the music and lets it float into our hearts.

Italian tenor Alessandro Scotto di Luzio captures the appeal of Alfredo and he and Pratt sound like they were meant to sing together. But they rely on the music to show their love and haven't been directed to show their unstoppable passion, leaving them looking awkward rather then lovers who are prepared to give up everything to be together.

Much better in this respect is Jose Carbo as Alfredo's father, who show the unbearable loss in Act III.
And Kirilie Blythman, as servant Annina, and Dimity Shepherd, as courtesan Flora, bring more than wonderful voices to the stage.

The sound of this opera is what makes it so worth seeing. Richard Mills's conducting and musical direction brings out the best in all the voices and the chorus, and he ensures that the full orchestra supports and never overwhelms the singers. It's a production you want a recording of.

What's disappointing is that this production never feels or looks like it was made for this cast. There are unflattering costumes made to fit rather than designed for the performers, and ridiculous false beards; the chorus sound magnificent but look uncomfortable and seem unsure of their role on the stage, as do the dancers who swirl around them with little connection to the story; and even when the design reveals visual treats like its stunning lawn of flowers, the connection between design and production gets lost.

As a whole, I saw nothing in this Traviata that I haven't seen before and wonder what we'd have got if an Australian director had been given the freedom to create a production hat resonates in the here and now.

But go to hear Jessica Pratt.

This was in AussieTheatre.com.

Review: Nixon in China

Nixon in China
Opera Victoria
16 May 2013
Her Majesty's Theatre
21 and 23 May
victorianopera.com.au

I've loved Nixon in China from the time I curiously listened to a highlights recording and John Adams became one of my favourite contemporary composers at its opening chorus. Opera Victoria's exquisite production has confirmed its place as a masterpiece of 20th century art and loudly hinted that the best opera in Australia is not being made by our national company.

The opera is based on President Nixon's visit to China in 1972. Nixon dubbed his visit "the week that changed the world" and brought his wife, Pat, National Security Adviser, Henry Kissinger (who organised the visit secretly and is the only character still alive), and the American press corps with him. While this would be a nothing story today (unless maybe Obama went to North Korea), it was the first time in 25 years that the west had seen China – one fifth's of the world's population had been hidden – and this first-term president knew that he was making history.

Nixon continued to make history and is remembered more for the Watergate tapes than what was achieved by the visit to China, as Mao Tse-tung and his wife Chiang Ch'ing are now mostly remembered mostly for the atrocities they supported.

The last time Australia saw a Nixon in China was 1992 when the Adelaide Festival presented Peter Sellars's original 1987 production, which he created hand-in-hand with Adams and librettist Alice Goodman, even if they often disagreed.  Sellars re-created this production in 2011 for the New York Met (seen here in cinemas), so most familiarity with the work comes from his productions. Opera Victoria have a budget about the size of the Met's shoe budget, so director Roger Hodgman and his creators had to make very different artistic choices.

Designer Richard Roberts simplifies the world with a set that's symbolic rather than a reflection of the photos of the time. A huge red curtain is the backdrop for most of the action, with Esther Marie Hayes's costumes adding the historical placement.

This relative simplicity allows for a more contemporary reading of the work and without being tied so tightly to living memory (all I remember of 1972 was getting a baby brother), there are moments that are so much stronger when seen from now. There's Nixon's singing about the mystery of "news" and his amazement at the satellite technology that lets the whole world watch and listen. Mao's talking about liking right wing politicians and the "facism" of the extreme left could be an opinion piece today, and Pat's dismay at a jade elephant not being one of a kind came before "Made in China" was printed on so much of our stuff.

However, without knowledge of the history, Act 1 is especially confusing and would benefit from something as simple as a projection of date and place. (I spent the interval explaining it to friends.) The work isn't about the historical truth, but just knowing when and where we are helps an audience to stop looking for those clues and relax into the real truth of the work.

Much of it's truth – historical and emotional – is in the remarkable libretto by Alice Goodman, which is readable by itself. A lot of her libretto is based on transcripts, so it's easy to think that it's what really happened, but she also researched widely, from Nixon's personal letters to the insomnia that plagued Chou En-Lai, and this knowledge adds such a strong reality to piece that even the imagined scenes feel like they must be real. The genius of the work is that it takes us from what the world saw into the heads and hearts of the characters. This lets Nixon and co sing what they actually said, while we also hear what they may have been thinking.

Act I's three scenes open on an empty airfield outside Peking where a chorus of Red Army Guards recite from Mao's Red Book and build into a glorious crescendo of anticipation as the plane lands and Nixon appears at the door to wave and create one of the most iconic images of 1972 and his presidency. This act is based on the first day in China, taking the president from his airport meeting with Premier Chou En-lai to a meeting with Mao and ending with a banquet toasting peace and everything else as the drinks keep flowing.

Act II's two scenes begins with Pat's visits to hospitals, factories and schools and ends with a performance of a revolutionary ballet devised by Chiang Ch'ing. As the story moves from the international and political to the social, Pat becomes more and more enamoured by China until she's shattered by the images and attitudes of the ballet and Madame Mao.

Act III's one scene is the last day of the visit and is a complete imagining by the composer and librettist that moves into the private rooms and imagined thoughts of the characters.

But the history and story of the piece are not what make it so amazing. After all, this is an opera and Adams's composition is unforgettable. I don't know enough about music to explain why his music works, but I know that it's full of conflict and discord and confusion that lets you feel the emotions of the characters, and when it comes together in harmony, you can't help but soar with it.

And great composition needs great musicians and singers. Conductor Fabian Russell creates a sound that celebrates and understands the role of every note and it's ridiculous to even consider faulting the cast who have created their characters from the music rather than the recorded historical personas.

Andrew Collis's Kissinger knows he'll never be the centre of attention, even if he's the most worthy. Mao's trio of secretaries (Sally-Anne Russell, Dimity Shepherd and Emily Bauer-Jones) support their emperor in public, but know he's a just a man, as Bradley Daley lets Mao be a weakening man trying to hold onto his greater-than-life image.  And his wife, Eva Jinhee Konh, is angry and determined and her coloratura aria, "I am the wife of Mao Tse-tung", almost steals the show. (A friend of mine saying that she must have sung an H.)

Then there's the lyric soprano of Tiffany Speight as Pat Nixon, who brings a sympathy and reality to Pat that's heartwarming and painful. And Christopher Tonkin has a similar approach to Chou En-lai, as a man who knows he'll be forgotten by history and can see the myth making going on around him (and has a tone to his voice that makes me want to hear a lot more of him).

Finally, there's Barry Ryan as Nixon. If you've heard James Maddalena sing Nixon (he created the role and has sung it all over the world), it's hard to imagine anyone else as Nixon – until Barry Ryan opens his mouth. His Nixon is bold and nervous and hides his fears as he's privately overwhelmed. It's a stunning performance.

There are only four performances of Nixon in China. Two have gone, but there's still Tuesday and Thursday this week. It's sad to think that there are so few performances, but I like to think that it's made enough impact to ensure that it's seen again.

And while you book for Nixon, get your tickets for Opera Victoria's next show. On 20 June Sunday in the Park with George opens. Sondheim fans are squealing with joy and so should everyone else because this is one of Sondheim's best works and if we can trust this company with John Adams, we can trust them with Sondheim. And let's hope that there's more of both composers in future programs. I don't think we've had a Dr Atomic (Adams) in Australia and I wasn't living in Melbourne when Roger Hodgman directed A Little Night Music (Sondheim) for the MTC, so it must be time to let him do it again.

This was on AussieTheatre.com

Review: The Threepenny Opera

The Threepenny Opera
Malthouse Theatre and Victorian Opera
2 June 2010
Merlyn Theatre, CUB Malthouse

"The good old diggers, who pull their triggers from Bagdad to Khe Sanh..." There's no doubt that Malthouse Theatre and Victoria Opera have relocated the The Threepenny Opera down under.

And where better than Underbelly Melbourne, where the Peachams gaze at the moon over St Kilda and Mac loves a whorehouse in North Bulleen.  Throw in a dream cast of Melbourne favourites and you've got a show sold out before it opens.

Bertolt Brecht and Kurt Weill's The Threepenny Opera was first performed in Berlin in 1928. It went to Broadway and, according to Wikipedia, has had over 10,000 productions since – a number that would probably triple with the uncountable amateur, high school and university productions.

Michael Kantor chose this loved and still astonishing piece of theatre for his Malthouse swansong and what a way to go!  From the moment Paul Capsis sings "Mack the Knife" in a yellow dress and a blindfold, there's no doubt that the ride's going to be bumpy and exciting in all the right ways.

As Brecht worked with Weill, Kantor has again teamed with Richard Gill, following from their stunning 2008 collaboration Through the Looking Glass. Gill's Victorian Opera continues to pull down the artifice and misconceptions about this shiny form and celebrates it with incomparable style and invention.

Much of Weill's genius lay in his ability to write extraordinary songs for singers and non-singers,  but combining the best performers from the opera and cabaret/musical theatre worlds still offers its challenges. It's impossible to compare the crystal clear vocals of contemporary opera superstar Dimity Shepherd (Lucy) with the husky belting of Capsis (Jenny), but Kantor ensures that this combination of unlikely voices is natural in this world and Gill ensures that they complement each other in unexpected ways.

It's difficult to discuss the cast without using the word perfect, or Perfect.  Highlights include every moment Judi Connelli and Grant Smith sing as the Peachams; Capsis giving Lotte Lenya a run for her money; Anna O'Byrne (Polly) and Shepherd's "Jealousy Duet"; and Casey Bennetto (Tiger Brown) and Mac's "Canon Song". Eddie Perfect is Macheath – and yes he is. If you like your Macs cold and brooding, this "sadist and a rapist" may seem a bit nice,  but it's hard to be cold when you're wearing glittery braces and by the end of Act 2 there's few in the audience not wanting a filthy lusty moment with Mac.

The design team of Peter Corrigan (set) and Anna Cordingley (costume) have coloured a world that supports the characters, but doesn't feel like the Melbourne being sung about, and the designs seem to complete with each other for the dominant images, which oddly mixes agit-prop, boxing and clown-face metaphors. At times they look beautiful together, but it's not too hard to imagine the set with plain black costumes or the costumes in an empty black space.

None of which takes away from this production.

With such wonders on the stage, it could be easy to forget the orchestra, but the vocal/orchestral balance is ideal and Gill's musical direction is so like listening to early recordings of the work, that it is surely how Weill imagined it to sound.  And Brecht would have had a proud giggle at the bawdy Aussie interpretation of the text and lyrics by Raymond Cortese and Jeremy Sands.

Once you discover Brecht and Weill, there's no going back to a theatre world without them and great professional productions of The Threepenny Opera should not be missed. This one is officially sold out, but limited tickets may become available, so check the Malthouse website.

This review appears on AussieTheatre.com.


Richard and Eddie





Alan and Cyndi



Lotte

Through the Looking Glass

Through the Looking Glass
Malthouse Theatre and Victorian Opera
21 May 2008
Merlyn Theatre, CUB Malthouse

Through the Looking Glass is the first collaboration between Malthouse Theatre and Victorian Opera. The 2008 Malthouse season continues to surprise and delight with this astonishing new opera.

Through the Looking Glass explores perceptions of childhood and growing up, while maintaining the absurdity and humour of Lewis Carroll’s writing.  Composer Alan John and librettist Andrew Upton have fashioned an intriguing work that draws from the “Alice” books and the report and rumour surrounding Charles Lutwudge Dodgson (Carroll) and his relationship with Alice Pleasance Liddell. (Dramaturge Maryanne Lynch’s discussion of this relationship is in the programme and is well worth reading.)  This Alice is followed and reflected by three ‘young Alices’ whose presence continually force us to question the truth and source of their wonderland.

Peter Corrigan’s incredible set, costume and puppet design delightfully re-invent the reflected backwards world. With hints of darkness and complex imagery, the design is as fascinating and confusing as Alice’s (and Carroll’s) thoughts.

 Director Michael Kantor brings a determined story telling aspect to the production. It is a complex and difficult story to follow, as well-known parts of the tale are missing and Carroll has become a character, but Kantor lets us understand enough, without compromising the music or spectacle.

 With the likes of David Hobson and Suzanne Johnston, the cast are all wonderful, including the children playing the young Alices. However, Dimity Shepherd is outstanding as Alice. Shepherd is always vocally superb and consistently brings complexity and depth to her characters.

 Conductor Richard Gill says, “Shiny new operas are held very close to our hearts.”  It is indeed rare to see an Australian opera produced. Victorian Opera are including a new Australian opera in their repertoire each year. By bringing a production as wonderful as Through the Looking Glass to a wider theatre audience, let’s hope that theatre appetites are whetted for more of thesame.

 This review appeared on AussieTheatre.com.

The Opera Burlesque

The Opera Burlesque
19 November 2006
The Famous Spiegeltent

Review by Christina Cass

“Opera singers can sing but they sure as hell can’t act”, are mutters often heard while the audience files out of Carmen or La Traviata. That’s what keeps many people away from embracing the opera format – the stiffness of the performers we often see (which, by the way, has loosened up quite a bit lately). Ah! But the music is so dreamy that watching Pavarotti poke around the stage barely physically connected to the text of the story – much less barely resembling the character – doesn’t matter.

Not so with Ali McGregor’s The Opera Burlesque triumphantly back from the Edinburgh Festival for another Melbourne engagement at the Famous Spiegeltent. Ali McGregor, Antoinette Halloran and Dimity Shepherd make up the trio of lovely laced-up vocalists who can also act! That’s what struck me about halfway through their show – how wonderful it was to enjoy beautiful, classically trained voices wrapping their delicious vocal chords (not to mention corset chords) around uniquely mixed interpretations of Puccini, Madonna, and AC/DC all while being fully invested in their characters.

Okay, okay, bad boys and horny babes -- love gone murderously wrong and songs about tongue-tied ‘cunning linguists’ may not bring these ever-so-slightly-tarnished lilies a Tony Award, but to see a well-structured kabaret performed with polish is a great treat. This cheeky burlesque business can sometimes be just haphazard, titillating vaudevillian fare – which in itself can be very fun, don’t get me wrong, The Opera Burlesque has plenty of that but it also has a bit more structure than just getting down and dirty.

McGregor, who also directed the show, was apparently inspired by a late 19th Century group of opera singers who used to creep out of the Royal Opera House in Covent Garden, dash across to the East End and perform their arias in corsets and drawers for the vaudeville loving public. Parodying popular theatre of the day, these ladies gave the audience a taste of opera that they may not otherwise either experience or care for and that’s exactly what The Opera Burlesque ladies are leaving its audience today.

The Opera Burlesque has one final show, November 20, 2006 @ the Spiegeltent 9:15pm – try not to miss it!

This review originally appeared on AussieTheatre.com