Opera Nova For Better, For Worse @ Darlington Arts Centre

I have always fancied going to see an opera but whilst I know lots of the really popular tunes, I have always thought I would struggle to follow the story, recognise the characters or understand the plot.  I tried to watch Wagner's "Das Rheingold" on Sky Arts but, despite the hugely theatrical production I just felt lost at not really knowing what was happening - coupled with it not being sung in English which made it all the more difficult to follow.

When the opportunity came up for me to go and see Opera Nova's newest production - For Better, For Worse - I jumped at the chance.  Following the successes of Love, Sex and Death and Opera, It's One Big Party, For Better For Worse (subtitled the Matrimonial Noose) is an exploration of love and marriage as seen through the eyes of the great operatic composers.  Here was a show that promised to extract key wedding and marriage scenes and present them in a 'novice-friendly' way.  Make no mistake, it may have been made accessible for the uninitiated few like myself, but the quality, the power, the humour and the sheer majesty of the evening was every bit as professional and moving as a full production.

Under the excellent guidance of musical director Richard Bloodworth, and accompanied by Alison Gill on the piano, we were treated to scene after scene of matrimonial merriment and mayhem in equal proportions.  Figaro, Don Giovanni, The Bartered Bride and Fidelio were brought to life in beautiful harmony.

I won’t for one moment begin to suggest that I knew all the operas from which the extracts came, nor did I come armed with a knowledge of the stories they were telling, but what Richard did was to introduce each scene with a potted synopsis of the plot so far, the key characters and more than a little humour about what to expect next.  He has a wonderfully mellow voice that carried across the audience and gave equal amounts of comfort and excitement about the scene to come.  Alison, who played the entire accompaniment, belied her tender years (she is only 27) to deliver a note perfect aural tapestry on which the stories were woven.  It was quite amazing to think that the whole auditorium was filled with wondrous sounds all emanating from 1 piano and the human voices on stage.

We left the show with a heightened thirst for learning more about those opera’s from which some of our favourite classical tunes are drawn.  We also vowed to dig out our classical CDs and make sure that at least a few were ever present in the car but most importantly we added Opera Nova to our “Must See Again” list and would urge anyone else with even a remote interest in opera to keep watching the listings for their next show.

Titanic by Darlington Operatic Society @ Darlington Civic

A performance as powerful and awe inspiring as the great ship herself.

It was quite fitting that on this, the opening night of DarlingtonOS production of Titanic, that the heavens had opened and the audience arrived already soaked through and shivering. 

We all know the story of the ill fated maiden voyage and it is well celebrated this year through both factual and dramatised TV productions but I defy any of them to be as moving, as emotional and as immersive as this show.

The opening scenes, with the passengers and crew viewing the mighty ship for the first time is a testament to the direction and choreography of Scott St Martyn - the use of simple projections along with perfect stage management gave everyone no doubt that we were about to set sail on a monumentous journey.  The cast, in joining together for a rafter lifting first chorus, set the scene, the pace and the expectation that everything about this show was going to be huge.  The opening number is all the more heart-aching because we know the fate that lies in wait for many of the characters; the first class passengers who openly flaunt their wealth & riches, the 2nd class who looking enviously at 1st whilst living beyond their means just to try and fit in and the 3rd class who bring only themselves and their dreams.  Death doesn't discriminate.

Back in 1912 the Titanic started her journey at a quite sedate 18 knots but this show went straight to full power and didn't let up once.  The pacing of each scene was breathtaking whilst the interaction between characters was a perfect example of how to sell a back story, develop interaction and create personae all within one number.   The main characters, acting as the golden thread running through the whole show, were never in danger of bullying their way to 'front & centre' - each was sympathetic to the story's needs yet brilliantly powerful in taking us on this turbo charged ride.  Julian Cound, as the ships

designer & builder Thomas Andrews, ran the whole gamut of emotion from pride through protective parent-ship and finally personal grief as his 'baby' floundered and he realised how simple a solution to this could have been.  Lee Morris played the first class steward Henry Etches with a perfect blend of humble servitude and knowing discretion - in part he reminds of the character Radar from M*A*S*H - always there, never demanding but the grease that keeps everything running smoothly.  I could go on and list each and every cast member - they were all wonderful and can feel rightly proud that they delivered an historic show.  Likewise, Michael Trotter as musical director, and his orchestra deserve all their plaudits for providing a sensational aural backdrop.

Darlington Civic doesn't have the largest of stages but with the ingenious sets and masterful stage direction it was all too easy to think we were watching a production at the Palladium or the Royal Albert Hall - at times there were in excess of 30 people moving, dancing, interacting yet not once did it seemed cramped - not, that is, until we reached the climatic end when the feeling of claustrophobia and panic was palpable and not just on the stage.

For anyone wondering how the dreadful story of the Titanic can be portrayed effectively on stage, and as a musical, they need not fret - it is, after all, a story about love, greed, dreams and tragedy.  The show has a number of anthemic songs which, in the hands and voices of this fabulous cast rivalled even Les Mis for pulse racing, tear jerking emotion.  The song "We'll meet tomorrow", performed as the realisation that those left on board would surely drown, prompted many frantic searchings for tissues and stifled sobs.

In the centenary year of Titanic, and with the huge interest across the world in revisting the events of April 1912, I would urge everyone, young & old, to go and see this show - it will not only educate you as to how things happened, it will transport you on deck and give you the sense and feeling of what it was like.  Just be prepared to be moved.

ETT's Anne Boleyn @ Darlington Civic

If only history had been this much fun when I was at school !

I didn't really get history when I was at school, either because of the way it was taught or because I remember most of my history lessons were just after lunch when watching the other classes play football was far more appealing.  It's a shame really, as had I realised that it could be as big, bold, fun and thrilling as John Dove's production then I'd have most certainly taken more notice.

The play brings to life and light the story behind Anne Boleyn's reputation as "the Protestant Whore" - how she was very much in love with King Henry VIII and most certainly didn't (at first) see him as a route to making England a protestant country.  It explores how Henry, fed up with Catherine's inability to provide him with an heir, was looking for a "church approved way" to rid himself of her and find another who could give him a rightful successor. 

The writing, the use of traditional musical instruments and the fabulous costumes all help to drive the story along at a brisk pace; there is plenty of humour throughout with the whole ensemble either playing to or falling foul of Howard Brentons wonderful script.

The story starts with the newly crowned James I hunting through an old chest and discovering the hidden secret of Anne Boleyn; the banned bible written and interpreted by the exiled William Tyndale.  Time skips back 70 years, to when the flirtatious and headstrong Anne first met the young King and how their lives & loves start to intertwine.  Never truly accepted by the courts, Anne has to battle the prejudices of those who saw her simply as the King's mistress, a conniver, a harlot and, to some, a witch.  It's true that she cast a spell over Henry, but this was no witchcraft, it was womanly charm.

Henry, who believes that as King he can demand favour from anyone he pleases is suddenly confronted with a woman, who, despite his obvious regal power (and his complete desire) is prepared to stand firm and refuse any physical union until they are married.  It is over this cliff-edge that the 'Catholic' king must leap if he is to take Anne as his bride and lover. It is through this time that Anne realises that she has an ally in her perseverance of bringing the Protestant faith to the fore - an unlikely and secret ally, but one who enables her to meet with Mister Tyndale.  She takes great strength through this and announces to the King that she is, in fact, a proud protestant and that by following the protestant teachings he could become the head of the Church of England and thus able to dispense his own form of religious protocols, including divorce.

There then follows plot & sub plot, alliance and betrayal with regular trips back to the 'present day' to see how James I was grappling with his own ideas of how to progress a unified English religion and an official translation of the Bible.  Of course, we know how Anne met her fate, but even the surroundings leading up to her imprisonment were clouded in treachery not often fully appreciated.

The cast all played their parts magnificently - Jo Herbert, as Anne, was steely strong, defiant and focused yet still naive and vulnerable in the presence of Henry's courtiers.   When not centre stage she floated in and out of scenes, keeping a constant thread through the whole story.  Julius D'Silva as Thomas Cromwell was subtly threatening, knowingly menacing and as trustworthy as a basket of vipers.  Had this been a pantomime he would have been the villain but I doubt anyone would have had the nerve to even whisper a boo. 

The standout performance for me was James Garnon as King James I - King James is a complex character, thought to have been gay,to suffer from gout and kidney stones and to be taken to bouts of giddy madness. We see him dressed in Anne’s coronation gown, dancing energetically with male courtiers, goading the new Church of England and the Puritans and seeking guidance and acceptance from Anne's ghost.  James Garnon plays the part with a mixture of wretched soul searching and gay abandon, complete with physical tics, anguished howls and unnerving maniacal laughter.

I think that this production should form a part of the modern curriculum; it could equally cover drama, history and RE and is readily accessible for all to understand - I took Jess to see it and, as she had just finished the Tudors in her history lessons, she found the show fascinating, engaging and completely enthralling.