Monday 26 November 2018
Glyndebourne's Cendrillon (UK Tour), New Victoria Theatre | Review
Cendrillon (UK Tour)
New Victoria Theatre
Reviewed on Friday 23rd November 2018 by Olivia Mitchell
★★★
Fiona Shaw takes the lead in directing Glyndebourne's first production of Massenet's ravishing fairytale, and turns it somewhat on it's head. The line from the opera "don't be ordinary, nor too original" feels very fitting for this production which has moments of magic but doesn't leave you utterly wowed.
From the get go, the show is a little frantic, with lots of action but no clear centre for us to focus on. Whilst this does make the later scenes of peace and tranquility more affecting, it sometimes feels unnecessary and indulgent. However, the act one scene of the Stepmother and Stepsisters preparing for the ball, is perfectly overindulgent, just like the characters. Social media obsessed, snapping selfies throughout the whole process and getting padded up to the nines a la the Kardashians, Agnes Zwierko, Eduarda Melo and Kezia Bienek are humourous, vocally excellent and suitably annoying.
Also well performed is the relationship between Cendrillion and her country-loving, spineless father played by William Dazeley. The pair are tender with one another and Dazeley provides some comic relief as he tries to stand up to his wife. Alix Le Saux and Eléonore Pancrazi are convincingly youthful as Cendrillon and the Prince as they perform with heart and passion.
The real star of the show is soprano Caroline Wettergreen as the Fairy Godmother. Dressed in an Elsa-esque coat, with braided hair and sparkles adorning her face; Wettergreen casts spells before reclining in her chair with a cigarette and is perfectly nonchalant but magical. Her coloratura is outstanding and the oak tree dance in act three really shows off her voice, as well as Sarah Fahie's choreography which is perfectly timed with every trill and ornament.
Jon Bausor's set brings not only magic to the stage but makes it feel expansive. The use of mirrors throughout, transports us to a huge ballroom and makes the stage seem double the size it truly is. Small details such as the butterflies symbolically appearing across the stage, alongside Anna Watson's clever use of projections do bring an element of magic as well as keeping the stage uncluttered with unnecessary props.
The ultimate magic of Cendrillon is truly Massenet's gloriously sumptuous score but this production does a good job of making the classic fairytale more psychological as well as retaining the mystical feel we desire, especially at this festive time.
photo credit: Richard Hubert Smith
Saturday 24 November 2018
A Stagey Guide to Singing... Mané Galoyan | La Traviata | Interview
Mané Galoyan is currently helming the UK tour of Glyndebourne's La Traviata where she plays the heartbreaking character of Violetta. Watching the opera, one thing was evident: Mané's voice and technique are second to none, so I jumped at the chance to get some inside information and tips all about singing from the lady herself...
Can you tell me a little about your vocal journey and training?
I started voice and piano lessons at the age of 9 and I’ve always been lucky because I had the best teachers. I hold my Bachelor’s and Master’s degrees from Yerevan State Komitas Conservatory, after which I was a studio artist at Houston Grand Opera for its 2015/16, 2016/17 and 2017/18 seasons.
Violetta is a vocally demanding role, how do you maintain your voice and vocal health?
For me, the only thing that is very important is a good night’s sleep. Since our instrument is our body itself, we just need to treat our body with respect and care, but nothing is better then a good night’s sleep and healthy food. Other than that, I live my life as I normally would (without any extremes, of course! ha ha)
Violetta is also an extremely emotional role, how do you distance yourself from the emotion so your voice remains strong and you're not overly affected by it personally?
The truth is, you can’t fully distance yourself from Violetta. It is an extremely relatable role and I remember when I first started working on the score I was sobbing reading through the text. But it is important to understand that you are not the character – you are just the one who gives voice to the character and keeps it alive. It is indeed a fine balance to keep the emotions and the technique on the same level, but that is the challenge and of course the rehearsals are there to help you to find it!
What is your pre-show warm up like?
I usually do at least 5-10 minutes of yoga to stretch my body and warm it up first. It’s much easier to warm up your voice after your body is warmed up and your breath is going. And then some humming, a couple of scales, check in with the score and ready to go!
Who is your dream duet partner?
A partner who is always present dramatically and who I can make beautiful music with! And right now I am very lucky to have Luis Gomes as my partner in La Traviata. He is the best!
If you could describe performing in 5 words, what would they be?
Sharing, living, exciting, transforming, loving.
What's your top piece of advice for aspiring singers?
Always be open to accept feedback from the professionals around you, but never forget to listen to your own intuition…
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
Interview by Editor, Olivia Mitchell
Interview by Editor, Olivia Mitchell
In Conversation With... Rebecca Lock | Kiss Me Kate | Interview
Fresh from starring as Ms Fleming in Heathers, Rebecca Lock is tackling the tough but exciting role of Lilli in the Sheffield Crucible's production of Kiss Me, Kate. Rebecca chatted to us all about the show, how Lilli is an ever relevant character and what people can expect from this new production...
Can you tell us a little about Kiss Me, Kate and how your character, Lilli, fits in?
Kiss Me, Kate is a Cole Porter musical about the inner workings of a travelling touring acting company and, in particular, about the tempestuous relationship between the two leading actors – Fred Graham and Lilli Vanessi – who are a newly divorced couple coming together for the first time in year to play opposite each other in The Taming of the Shrew. It’s a brilliant premise and you are taken on a journey of love, romance, mistaken identity and intrigue throughout. It’s a real whirlwind with tremendous highs and lows, beautiful music, incredibly dance routines, farce and a total transportation to the 1940’s world of glamour and Hollywood. It’s an absolute gift to any actor and I’m relishing every second of playing Lilli!
Lilli is a very vocally taxing role, how do you go about tackling her and performing in a way to maintain your voice and vocal health?
The somersault vocals as Lilli/Kate are taxing but it’s something I’ve always loved in all the roles I’ve played in my career; a real diversity of style – one second a lilting soprano for Wunderbar, and then belting my head off in I Hate Men, then finishing Act One with a coloratura that would fit nicely at the ENO, it’s brilliant! Of course, I have to look after myself. I’m drinking plenty of water, sleeping plenty and doing all the steaming – I don’t think I’m going to be able to partake in the usual jollities this Christmas! Although, I’ll maybe manage to sneak in a medicinal glass of port... or two.
What’s your favourite moment in Kiss Me, Kate?
Oh, there are so many! At the moment i’m really loving all the fighting we’re [Edward Baker Duly who plays Fred/Petruchio] getting to do as our play-within-a-play characters, it’s awesome. No holds barred.
In the era of #MeToo, Lilli seems like an extremely relevant character; is this something which drew you to the role?
I feel very honoured to have been trusted with a role like Lilli in today’s world. We do tackle some themes in the show of domestic abuse; there’s a famous scene towards the end of Act One where Fred [on stage as Petruchio] spanks Lilli [as Kate] which, in past productions, has been played for laughs with the exposing of frilly bloomers but actually, it isn’t at all hilarious that this man is hitting a woman. In our production, the genius that is Paul Foster [Director] has brought the situation right up to 2018 and tackles the scene in a new and very real way. Lilli definitely gives as much as she gets during the fight and it’ll be interesting to see how the audience react to this new and raw way of playing it – it’s an important story to tell.
What can audiences expect from this production of Kiss Me, Kate and why should they come to see it?
This production of Kiss Me, Kate is going to be a beautifully new, fresh and extremely funny show for a 2018 audience. I’m so excited for people to see it. The combination of Matt Flint’s breathtaking choreography and getting to work under the direction of Paul Foster is making this one of those really special productions that I am sure I will look back on and remember as a firm favourite.
What is your pre-show warm up like?
My pre-show routine is rather mundane: I eat about 4.30pm so I’m not digesting food during the show and burping in Edward [Baker Duly]’s face, then I get make-up ready for our company physical and vocal warm ups, then back to the dressing room to wig up and get dressed. I like to be ready to go by the five minute call so I’m not panicking and running late. I tend to always have a Jakemans’ throat sweet before beginners – not for medicinal purposes, just because it’s nice and comforting – and then, of course, a last minute wee. The show is so busy that I’m definitely not going to have a wee break until the interval!
Who would your dream duet partner be?
Hmm, good question! There are so many wonderful singers who would be so dreamy to duet with, but I’d have to say Audra McDonald. I absolutely love her rich, full and velvety voice and think we’d just have a brilliant time.
What’s your top piece of advice for aspiring performers in terms of finding and maintaining your voice?
To all aspiring new performers who are finding and maintaining their true voice, I would say to be yourselves. Be inspired by other singers but don’t imitate. Your individuality and unique quality is something you should be proud of – there’s only one you, embrace it! Oh, and drink plenty of water, get lots of sleep and avoid noisy places – talking loudly can be a killer when it comes to vocal health.
Kiss Me, Kate is at the Crucible Theatre from Friday 7 December – Saturday 12 January
photo credit: Manuel Harlan
Friday 23 November 2018
West End Live Lounge, The Other Palace | Review
West End Live Lounge
The Other Palace
Reviewed on Sunday 18th November 2018 by Olivia Mitchell
★★★★★
We all know by now that West End Live Lounge concerts are in my top ways to spend a Sunday, and last weeks 90s extravaganza was no different! A host of the West End and theatre in generals finest, took to the stage at The Other Palace to perform some remixed and refreshed versions of 90s classic hits as well as some less remembered tunes.
Ever humourous and energetic, Vikki Stone and Paul Taylor Mills presented the night, which raises funds for a different charity each month, with banter and bounce. Opening the show, Matthew Harvey treated us to a laid back version of the secondary school music class classic, Wonderwall which perfectly set the tone for the night of nostalgia.
A string of vocally flawless performances followed with Sam Coates' arrangements doing justice to the performers, venue, musicians and audience. As always he breathes fresh life into music and manages to balance warmth and energy in everything he touches. Particular stand outs included Lauren Drew's spine tingling rendition of I'm Your Baby Tonight, Sharon Sexton's All About Soul which had the entire audience bopping along, and Brady Isaacs Pearce's Hallelujah which brought Carrie Manolakos vibes and a whole lot of heart and power.
The buzz was clear during the interval, from the beaming faces, to bopping heads and general chipper vibes, the anticipation for act two grew and we all knew we were in for another series of musical treats.
Vocal powerhouse and sultry queen Danielle Steers gave ballad realness with Don't Speak whilst Divalution brought their usual sass with their epic 90s mash up. All the ladies have not only voices for days, but for months. Some icy vibes were given to the evening by Jordan Luke Gage's dark and vocally incredible performance of You Oughta Know.
Sophie Isaacs also performed a lovely mash up, whilst, accompanied by gasps from the audience, Rob Fowler and Sharon Sexton joined forces to perform the well loved song which was cut from Bat Out of Hell: It Just Won't Quit. Every single performance of the night had something special and it's really magical to experience such diversity come together to celebrate music and talent.
As always, if you weren't at this West End Live Lounge, you missed a whole lot of brilliance but don't fret because there will be future concerts and it's clear from the Union Theatre to now, that the only way is up for Shaun McCourt and West End Live Lounge!
Keep up to date with West End Live Lounge on twitter
photo credit: Leigh Lothian
Thursday 22 November 2018
La Traviata: Behind the Curtain (UK Tour), New Victoria Theatre | Review
La Traviata: Behind the Curtain
New Victoria Theatre
Reviewed on Wednesday 21st November 2018 by Olivia Mitchell
★★★★
As part of Glyndebourne's 2018 touring season, they are offering Behind The Curtain performances where "the essence of opera is revealed" and audiences get a look at La Traviata as it's cleverly dissected and put together again for a condensed version of the show.
Hosting the night is comedian and opera lover, Chris Addison who welcomes the audience with open arms, and discusses opera in a thoughtful but easily understandable way. First up is a look at the famous brindisi which in 1853 was the equivalent of Gangnam Style in a show, as shown by the stellar Glyndebourne chorus. Addison likens the song style to "a group of students who don't stop talking about getting drunk." These comments, plus other ingenious ways of educating- such as showing the difference between recits and arias through a sung version of outrage at a Greggs bakery opening- make the entire night flow whilst informing people of all ages and keeping them entertained through humour and music.
Much of Addison's commentary is underscored by the glorious Glyndebourne Tour Orchestra, led by Ben Glassberg, who play both pieces from La Traviata and pieces which inspired/were inspired by it. The talent of the orchestra is evident throughout, no more so than when their sight-reading skills are shown off when playing Glyndebourne's Balancing The Score composer, Ailie Robertson's Invocation. Other games include a quick change competition called Beat The Orchestra and an audience guess at how many operas have been composed since Jacopo Peri's first, Dafne.
This Behind the Curtain event takes on the form of part opera performance, part lecture and is a whole lot of fun for both opera fanatics and new fans. It also raises questions to keep you thinking such as "is there ever an authentic setting for Verdi?" and introducing us to the wonderful performances available from Glyndebourne. Particularly interesting for theatre fans is when the Gypsy dance is taking place on stage whilst we see the rehearsal process on the screens; giving us an insight into the backstage process of forming a show.
Original Glyndebourne Violetta, Marie McLaughlin gives wonderful insight into the vocal variations needed for Verdi compared to other composers as she discusses technique and how solid breath control comes from the feet to the top of the body. Alongside some beautiful vocal demonstrations, Marie also explains how the beauty of Verdi is that he gives everything to you in the music and text which tell you exactly how to feel like the "consumptive" Violetta.
Overall La Traviata: Behind The Curtain is just a whole lot of fun. For music students it will surely provide an invaluable and memorable operatic experience and will inspire more people to participate in and enjoy opera. Glyndebourne should be commended for providing such an accessible operatic night. Here's to many more!
photo credit: Tristram Kenton
In Conversation With... Patrick Sullivan | Doctor Dolittle | Interview
After starring as Blake in Bat Out of Hell, Patrick Sullivan has swapped a motorbike for a cycling bike and a whole load of animals, as he becomes Matthew Mugg in Doctor Dolittle. Patrick told us what we can expect from the show, what Matthew is like and what he'd love to do next...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is a beautifully charming family show. It deals with important issues like the way we treat animals and in turn the environment. It has real heart and integrity and stands up against some of the more well-known family classics like Mary Poppins and Chitty Chitty Bang Bang.
You recently starred in Bat Out of Hell which is very different from this show, what drew you to Doctor Dolittle?
It was actually that huge difference that attracted me! I had the most incredible time creating and working on Bat. As a cast we were given such freedom to develop and adapt our characters. I had never done a show like Doctor Dolittle and reading the script the character I play, Matthew Mugg, really felt like something I wanted to work on! It's a very traditional show with great song and dance numbers which I've always wanted to do!
As you mentioned, you’re playing Matthew Mugg, what’s he like as a character?
Matthew is a very sweet innocent guy, with the best of intentions. He's an Irish immigrant and so doesn't have any family of his own in Puddleby, where the show is set, so he builds his own family when Doctor Dolittle takes him in. We see Matthew repeating this gesture when he takes in a local orphan Tommy Stubbins. He is driven by a kindness and warmth of character that I find very admirable!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
It's been a very rewarding challenge! I have had zero experience with puppetry prior to this show so I was really starting from the ground up! It's fantastic to be able to create reality where animals can pack a suitcase or do a dance number! It's really magic!
Have you got a favourite puppet in the show?
I might have a soft spot for him Chee Chee the chimpanzee...
Can you sum up Doctor Dolittle in five words?
Charming
Rich
Joyous
Fun
Heartwarming
If you had a magic wand, which show would you do next?
Oh a very difficult question. I don't really have a favourite show! I would love to do A Man of No Importance or else Catch Me If You Can. I think those are two shows that have never got the attention in London they deserve.
If you could go back to any era, when would you go to and why?
I know this isn’t the question but I'd much rather go into the future a hundred years and just see how it all plays out.
What’s your top piece of advice for aspiring performers?
Perform as much as you can. I was very lucky growing up in Ireland where there was considerably less competition for shows, especially for boys, so I was given loads of opportunities to play parts and develop a stage craft before I ever went to college! I was very lucky but there are still opportunities to be had if you look in the right places!
Also just try and be nice to people! It’s easy to forget to treat people with respect.
A massive thank you to Patrick for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
photo credit: Alastair Muir
Subscribe to:
Posts (Atom)
Hello!
Into The Spotlight
