June 18, 2009
This is a lavish, visually pleasing retelling of Purcell’s opera of the tragic tale of doomed lovers Dido and Aeneas. It is a well-known tale from the Aeneid of the blooming romance between Dido, Queen of Carthage, and Aeneas, a Trojan Prince, who are pulled tragically apart by fate. This production does not attempt to modernise or cut corners, but narrates it simply and with great enthusiasm. Use of costume, props and fabrics, and lively touches of choreography make a visually dramatic, colourful stage, from which the actors shine.
The directing is expert, the stage and players all made good use of so that action and movement never becomes slow. The playful opening - with the chattering chorus coming to life from plastic immobility - is particularly delightful, and they continue to provide support to the scenes with main actors, interacting with them, and adapting to and reflecting the mood on stage. The intermittent appearance of the Dancers on stage (Paulette May, Caroline Potter) is also particularly effective: where there is a space in the action, they appear, adding to the scene their elegantly crafted choreography in accompaniment to the music. Perhaps the only real letdown in the whole production is the orchestra itself, who, though kept together well, were at times audibly under-rehearsed in areas.
The two lovers, Taya Smith as Dido, and Dominic Bowe as Aeneas, make strong leads, both with powerful, supple voices reinforced by some splendid acting. Bowe’s Aeneas was painfully sincere and effective in delivery: his love and pain are utterly believable – “Let Dido smile and I defy the feeble stroke of destiny” could melt your heart. Sideris (Belinda) and Smith’s interaction in the final scene of Dido’s death, and Sideris’ acting in particular, was beautiful to watch. One of the main highlights of the production, personally, was the Sorceress and her two witches (Gunner, Ackroyd, Cox), with their rather strikingly ghastly make-up and hair, who plot the downfall of the Queen and her lover. Gunner’s initially startling appearance as the Sorceress is deliciously wicked, and her singing and enunciation is impeccable.
The whole production is a feast for the eyes, using strong colour themes and props, but this does not detract from the powerful musical performances on stage. Unafraid to make use of the comic elements present in the original opera, it remains faithful to it, giving us a stimulating, innovative serving of an old opera.
The directing is expert, the stage and players all made good use of so that action and movement never becomes slow. The playful opening - with the chattering chorus coming to life from plastic immobility - is particularly delightful, and they continue to provide support to the scenes with main actors, interacting with them, and adapting to and reflecting the mood on stage. The intermittent appearance of the Dancers on stage (Paulette May, Caroline Potter) is also particularly effective: where there is a space in the action, they appear, adding to the scene their elegantly crafted choreography in accompaniment to the music. Perhaps the only real letdown in the whole production is the orchestra itself, who, though kept together well, were at times audibly under-rehearsed in areas.
The two lovers, Taya Smith as Dido, and Dominic Bowe as Aeneas, make strong leads, both with powerful, supple voices reinforced by some splendid acting. Bowe’s Aeneas was painfully sincere and effective in delivery: his love and pain are utterly believable – “Let Dido smile and I defy the feeble stroke of destiny” could melt your heart. Sideris (Belinda) and Smith’s interaction in the final scene of Dido’s death, and Sideris’ acting in particular, was beautiful to watch. One of the main highlights of the production, personally, was the Sorceress and her two witches (Gunner, Ackroyd, Cox), with their rather strikingly ghastly make-up and hair, who plot the downfall of the Queen and her lover. Gunner’s initially startling appearance as the Sorceress is deliciously wicked, and her singing and enunciation is impeccable.
The whole production is a feast for the eyes, using strong colour themes and props, but this does not detract from the powerful musical performances on stage. Unafraid to make use of the comic elements present in the original opera, it remains faithful to it, giving us a stimulating, innovative serving of an old opera.