Emily K Neal Archives - Page 8 of 10

★★★★

“accessible and contemporary, whilst still including the powerful singing and acting operas are known for”

In a new English version of a classic, much-loved opera, Carmen (Jane Monari) is portrayed as a young woman working minimum wage jobs on the “front-line of Britain’s crumbling service industry”. Jose (Mike Bradley), written as a soldier in the original opera, is a hospital nurse who falls madly in love with Carmen. Add the romantic interest of famous footballer Escamillio (Dan D’Souza), originally portrayed as a bullfighter, into the mix and you have a passionate tale of love, jealousy and toxic relationships, British audiences of today should be able to relate to on many levels.

As the overture begins, played on just two keyboards, the dark nature of what we are about to see is immediately made clear. Carmen slowly emerges from the audience, with the two other characters then joining her on stage as part of a dimly lit, intense opening sequence.

During the first half of the performance, which is arguably more light-hearted than the second, we see Carmen and Jose’s relationship develop. This is then hindered by the introduction of Escamillio, who arrives at the karaoke bar Carmen works in. Passions ignited, Carmen is torn when Jose must go on the run after stealing thousands of pounds worth of drugs from the hospital he and Carmen used to work in, and wants her to join him. Carmen accepts, but soon realises she may have made a mistake, as darker times ensue.

Set and lighting design by Anna Lewis and David Doyle is effective and enhances the mood of the production. Furthermore, the props used are in keeping with its modern feel. Direction by Mary Franklin is polished, with smooth transitions between scenes and accomplished performances from those on stage.

This version of Carmen is ideal for those who have perhaps never thought to go and see an opera. You may be put off by their usual length or have simply decided they’re not for you. Think again. This production is accessible and contemporary, whilst still including the powerful singing and acting operas are known for. Running at just under two hours, including an interval, it won’t be a late finish, either.

Reviewed by Emily K Neal

Photography by Nick Rutter

L’Incoronazione di Poppea

Cockpit Theatre

Reviewed – 30th January 2019

★★★★

“every person involved demonstrated a high level of vocal and acting skills”

First performed in Venice in 1643, L’Incoronazione di Poppea (The Coronation of Poppea), tells the story of Poppea, mistress of the Roman Emperor Nero (Nerone), in her pursuit to become Empress. This production of one of the first operas to use historical events and figures manages to engage a modern audience through timeless themes and talented vocal performances.

Although there are central characters, this work is best described as a strong ensemble piece. All ten performers engage well with each other, displaying believable levels of emotion as well as physical connections. There are no awkward gaps between scenes, with performers making seamless entrances and exits.

It’s difficult to pinpoint a standout performance as every person involved demonstrated a high level of vocal and acting skills. However, the scenes and duets between Poppea and Nerone must be mentioned for their intensity and passion, excellently delivered by Kathleen Nic Dhiarmada and Helen May. Joana Gil as Drusilla brings a welcomed level of comedy and light, particularly during her early scenes with Eric Schlossberg as Ottone. Ottone’s love for Poppea is earlier rejected by her, and he offers to marry Druisilla when he realises he cannot win Poppea’s affections.

Accompanying the singers is a baroque period ensemble, led by Marcio da Silva, who is both Stage and Musical Director. Instruments include two harpsichords, an organ, lutes, a baroque guitar, baroque violins and a cello. These are all skilfully played and complement the vocal performances well.

The opera is performed in Italian with English surtitles, which are projected onto a wall upstage. This generally works well and the words are clear. At times, it did prove difficult to switch focus between the words and the performers on stage, but this could simply be due to the fact that having surtitles as part of a production is arguably quite rare and something that takes getting used to from an audience perspective.

Although first performed in the 17th century, L’Incoronazione di Poppea explores the timeless themes of love and its power, lust, ambition and sex. A minimalist set and contemporary costumes, as well as these themes, help a modern audience to engage, whilst the baroque ensemble means there is still a traditional feel. For someone who’s not hugely familiar with opera, I was impressed and feel inspired to broaden my knowledge of the genre. A sensual, well-delivered production!

King’s Head Theatre

Reviewed – 13th February 2019

★★★★

“accessible and contemporary, whilst still including the powerful singing and acting operas are known for”

As the overture begins, played on just two keyboards, the dark nature of what we are about to see is immediately made clear. Carmen slowly emerges from the audience, with the two other characters then joining her on stage as part of a dimly lit, intense opening sequence.

Reviewed by Emily K Neal

Photography by Nick Rutter

Carmen

King’s Head Theatre until 9th March

Last ten shows reviewed at this venue:

Cockpit Theatre

Reviewed – 30th January 2019

★★★★

“every person involved demonstrated a high level of vocal and acting skills”

Accompanying the singers is a baroque period ensemble, led by Marcio da Silva, who is both Stage and Musical Director. Instruments include two harpsichords, an organ, lutes, a baroque guitar, baroque violins and a cello. These are all skilfully played and complement the vocal performances well.

Reviewed by Emily K Neal

Photography by Andreas Grieger

L’Incoronazione di Poppea

Cockpit Theatre until 1st February

Previously reviewed at this venue: