Tag Archives: Neil Irish

The Marriage of Figaro

reviewed at the Snape Maltings Concert Hall on 12 April

Artifice or reality? Do we laugh at or with the characters and situations? Da Ponte’s libretto lulls us into one form of enjoyment; Mozart’s music draws us onto a different level. Blanche McIntyre’s production corkscrews us from the one to the other almost seamlessly.

Conductor Christopher Stark takes us through the overture while we watch 21st century performers gathering, assuming costumes, getting in the way of the stage-hands. Designer Neil Irish plays this in front of his turqouise-shaded setting, as flexible as an oriental screen. An armchair and a strong-box materialise. This is the convenient space the Count Almaviva has found for his valet and his bride.

Ross Ramgobin is a dark-voiced Figaro, almost virulent in his reaction to Dawid Kimberg’s designs on Rachel Redmond’s well-sung and acted Susanna, and making us believe his heartbreak and agony in “Aprite un po’ quegli occhi”.

Not helped by an unbecoming wig and matronly wrapper, Nadine Benjamin is a stately Countess; you feel from the first notes of “Porgi amor” that this Rosina has had all the life-bubbles squeezed out of her in just two years. Gaynor Keeble’s Marcellina has vitality and malice in equal measure.

The smaller character parts are also well taken. John-Colyn Gyeantey’s Don Basilio and Omar Ebrahim’s Dr Bartolo makes the most of their interjections, though Ebrahim’s “La vendetta” rather muted its patter climax.Abigail Kelly did well by Barberina’s fourth act cavatina “L’ho perduta”

Replacing an indisposed Katherine Aitken, Emma Watkinson’s Cherubino has all the gawkiness of the adolescent boy coping with an onslaught of dangerous desires. Both “Non so più” and “Voi che sapete” flow naturally and the horseplay during “Non più andrai” suggests that military life might well offer compensations.

This production uses the Jeremy Sams version of the libretto, which sits easily with the notation and has an air of 18th century style about it. A row of footlights suggest that we’re watching at one remove. But our ears tell us differently.

Four and a half-star rating.

The Marriage of Figaro is also at the Snape Maltings on 13 April and at the Cambridge Arts Theatre on 17, 20 and 21 April as part of the ETO 2018 Spring tour.

 

 

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Filed under Music Music theatre & opera, Reviews 2018

The Who’s Tommy
reviewed in Ipswich on 6 April

Ramps on the Moon is a six-year regional theatre project dedicated to integrating disabled performers and audiences with mainstream-calibre productions. Ipswich’s New Wolsey Theatre and its strategic partner Graeae have spearheaded the initiative. The Who’s Tommy is an object lesson in how this can be achieved.

A cast of 22 performers take all the roles, sing, whirl through Mark Smith’s choreography and play the almost through-composed instrumental score under the direction of Robert Hyman. Director Kerry Michael makes good use of Neil Irish’s flexible metallic set and lighting designer Arnim Friess makes the projections, floor light patterns and spotlightng of key incidents as much an important part of the staging as the action itself.

Central to the story is Tommy himself (William Grint) who is voiced by Matthew Jacobs-Morgan and Julian Capolei. Born after the reported death in action (the story begins in 1941) of Captin Walke (Max Runham), he encounters his father first in a traumatic confrontation between his mother Nora and new stepfather Frank (Alim Jayda). Apparently deaf, dumb and blind he is easy prey for playground bully Cousin Henry (Lukas Aleamder) and thoroughly nasty wheeler-dealer Uncle Ernie (Garry Robson). The unpleasant nuances of the latter’s “Fiddling” are cleverly conveyed.

Within Tommy’s mind, his lost father becomes guide and leader – almost as though they were 20th century eqivilents of Hamlet and his father’s mentoring ghost. Nora’s dilemmas are well mimed by Donna Mullings and sung by Shekinah McFarlane. Sign language, mime and movemen throughout are clarified by projected surtitles, which make following the nuances of the story much easier for all audience members.

Almost on Tommy’s wavelength is wheelchair-bound vicar’s daughter Sally (Amy Trigg), though her over-proective parents (Stacey Ghent and Anthony Snowden) precipitate her ultimate disillusion. Peter Straker is a true scene-stealer as the Acid Queen, a gypsy with much more than fortune-telling up her sleeve, bringing the house down with both her numbers, the second one added for this production.

Four and a half-star rating.

The Who’s Tommy continues at the New Wolsey Theate, Ipswich until 15 April with matinées on 12 and 15 April. It then tours nationally until 1 July, including the Nottingham Playhouse between 19 and 29 April.

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