Tag: music theatre

Ancient Mariner Rime watered-down, though stunning to look at

Posted on by Peter Mechen

The New Zealand International Festival of the Arts presents:
RIME OF THE ANCIENT MARINER

The Tiger Lillies
Martyn Jacques: Vocals, accordion, piano, guitar
Adrian Stout: Contra bass, musical saw, theremin, vocals
Mike Pickering: Percussion
Mark Holthusen: Animation and photography

St.James Theatre, Wellington
Saturday 8th/Sunday 9th March 2014

Review by Frances Robinson and Peter Mechen

This was an evening which, on the face of things, promised much, with a presentation that, right from the outset, looked terrific, but then didn’t go on to adequately develop the musical and contextual possibilities afforded by these arresting visual images. I’d not seen but had heard about the group’s previous appearance at the New Zealand Festival in 2000 with the anarchic musical Shockheaded Peter, and so was looking forward to what I hoped would be some comparably stunning realisations of poet Samuel Taylor Coleridge’s visionary saga of a soul in torment.

Alas, past Mark Holthusen’s brilliant visual realisations, projected onto gauze screens arranged to give maximum spatial perspective, I thought the show was disappointingly bland as regards both music and literary response. Perhaps the advertising blurb unwittingly put its finger on the essence of the presentation, with its emphasis upon Holthusen’s “extraordinary animations” and its cliched description of the show as “the perfect fuel for those late-night club conversations” – I must have missed that part of it, for some reason.

Joking aside, there were sequences indeed well worthy of discussion, and indeed, argument, in the wake of it all – but they were invariably centred on the visual settings and those extraordinary projections of ships, sailors, oceanic swells, exotic places, and, of course, the ever-present albatross, the fulcrum around which the story of Coleridge’s poem revolves, both up to and subsequent to the bird’s untimely end, shot dead by the “Ancient Mariner”. In fact the  show might as well have been a silent-movie realisation of some of the poem’s events, the three-man ensemble’s textual and musical realisations a grossly watered-down version of the poet’s richly-conceived detailings.

So, throughout the evening the narrative action of the Ancient Mariner was broadly depicted by these amazing film projections that unfolded within the stage space. These spanned from the backdrop, right out to the front edge of the stage, with multiple layers often operating simultaneously, hanging in the void like a series of ethereal, translucent curtains. They were never for a moment static, as within them moved the characters of the tale like the Mariner himself, the albatross, the mermaid, the hapless cabin boy (I thought some of the suggested sexual abuse of the boy a bit gratuitous) and the ship’s crew. Across these ethereal vistas moved the jagged icebergs and drifting snowflakes of Antarctica, the listless clouds of the doldrums, the heaving stormy seas of the roaring forties, and the doomed vessel itself. Most dramatic of all were the wondrously fearful sea monsters, spiky, scaly, sinuous of tail, and hideous in tooth and claw.

The role of the three piece band was built around the vocals of Martyn Jacques, which sometimes narrated brief portions of the story narrative, sometimes commentary on the events.  They fell into two broad styles – heavy bass gig-style numbers thumped out from front of stage, with Jacques doing accordion and lyrics; or more soulful crooning cabaret-style numbers with Jacques doing piano and lyrics. In only a few instances was the diction clear, and only a few brief snatches of the Rime were clearly enunciated. The Coleridge poem provided no more than the skeletal framework for the vocals, while the sequence of the narrative was played out almost entirely by the projected stage effects.

I found this inbalance rather disappointing. I would have liked to hear much more of the wonderful tale, simply provided by Coleridge’s matchless word painting. Instead there were the booming lyrics from front of stage, with words barely distinguishable, or the keyboard numbers in a classic nightclub croon, complete with mangled American vowels which sat, to my ear, very oddly with the musings of a classic British tar.

In places I was reminded of another production I’d seen recently on DVD, that of Thomas Ades’s opera “The Tempest”, with Shakespeare’s texts disappointingly “flattened out” and the poetry’s extraordinary inbuilt resonances of ambience and rhythm destroyed. Here, the effect of the words was similarly diminished – only the predictable phrases from Coleridge were touched upon, and were rarely developed, apart from, in some instances, being subjected to endless repetition.

This may have been a deliberate intention, used to highlight the endless wanderings of the vessel and the hopelessness of the Mariner, or simply the group’s normal style of gig music. Having said that, some numbers married brilliantly with the visual effects, and particularly the finale. This comprised little more than the repeated phrase “Living Hell” thumped out numerous times, but the stage and band were progressively engulfed by leaping flames from every direction in a spectacular finish to the show. It brought the house down, which suggested that the audience came largely for a hugely entertaining production, which this most certainly was.

It was clearly not a “setting” of the Rime of the Ancient Mariner in the traditional sense, and this was probably never the intention of its creators. Given that, the Tiger Lillies and their inventive visual artist Mark Holthusen produced a highly creative spectacle where the visual effects were undoubtedly the standout feature.

 

Fabulous and compelling evocation of times past

Posted on by Peter Mechen

“Lines from the Nile”

A Meeting of the “Port Nicholson Music Appreciation Society”

– held at 1 Essex Street, Aro Valley, Wellington

Mrs Garrett – Rowena Simpson (soprano)

Mr Hammersmith – Douglas Mews (Broadwood square pianoforte 1843)

Written and directed by Jacqueline Coats.

Venue: 1 Essex St., Aro Valley, Welllington

Saturday, 15th February, 2013

This show – an hour’s worth of stunningly-wrought, cheek-by-jowl evocation by just two performers, of an episode in Wellington’s musical, colonial and imperial history – is a “must see”.  Writer and director Jacqueline Coats has recreated a significant colonial musical event, one presented by the “Port Nicholson Music Appreciation Society” to mark the occasion in 1840 of Queen Victoria’s marriage to Prince Albert of Saxe-Coburg and Gotha.

As befitted the relatively new and far-flung colony’s ties with the Mother Country, and its desire to celebrate the young Queen’s marriage, the Society’s presentation here positively reeked of jingoistic splendor.  Special emphasis was accorded the dominance of the high seas by the British Navy, with the exploits of luminaries such as Adam Viscount Duncan and Horatio Lord Nelson celebrated in both music and dramatic declamation.

The audience had a real part to play in the proceedings, issued as its members were with Union Jacks and invitations to wave the same at every appropriate opportunity, as well as joining in with the singing of various lusty choruses and well-known anthems such as “God Save the Queen” and “Rule Britannia”.

Giving the show its name was a song “Lines from the Battle of the Nile” written by Josef Haydn in 1800, dedicated to Lady Hamilton in honour of Lord Nelson, here a tour de force of playing, recitation and singing from fortepianist Douglas Mews alias “Mr. Hammersmith”, and soprano Rowena Simpson alias “Mrs.Garrett” (could these names have been for real in the capital’s colonial past?). The work took its audience through a gamut of colourful evocation, part fantasia, part melodrama, part battle-hymn and victory paean – splendid stuff, and, as I’ve indicated, performed with tremendous élan and unswerving dedication by both pianist and singer.

From her first entry at the show’s beginning, soprano Rowena Simpson as the formidable “Mrs Garrett” by turns charmed, galvanized, electrified and captivated her audience, imbuing us all with the feeling by the end that if we weren’t well-born, true-blue and British to the core, then we jolly well ought to be! Douglas Mews’ portrayal of the less demonstrative and somewhat  phlegmatic “Mr Hammersmith” was the perfect foil for his Britannia-like partner, though he was energised in turn by the music he played throughout, never more so than during the various episodes of both the “Nile” and the “Allegorical Overture” melodrama-like presentations.

One recalls stories of audience members in Haydn’s day swooning during certain tempestuous parts of the composer’s “Military” Symphony – and Douglas Mews’ playing of the sturdily characterful 1843 Broadwood square piano had a similar tactile quality in the battle scenes throughout. I was particularly interested in Daniel Steibelt’s Allegorical Overture “Britannia” – the first music I’d ever encountered by a composer whose chief claim to fame in musical history is a musical drubbing he apparently received at the hands of Beethoven whom he had unwisely challenged in an improvisary piano-playing contest at a private soiree in Vienna in 1800.

I certainly thought on first hearing the work worthy to stand as a keyboard equivalent to the orchestral “Wellington’s Victory” by Steibelt’s more illustrious rival. In fact I thought some passages strangely reminiscent of Beethoven’s work, except that Steibelt got there first by a matter of sixteen years! Still, perhaps considering Beethoven’s low opinion of his own piece, any kind of comparison isn’t therefore much of a compliment to Steibelt – except that on this occasion, Messrs Hammersmith and Garrett made it work resoundingly! – it certainly made a fitting and festive conclusion to the concert.

Along the evening’s way, other pieces gave the presentation plenty of variety – a lovely “Haste to the Wedding” keyboard solo based on a traditional Irish tune in an anonymous arrangement made a nicely pastoral-like beginning to the proceedings, followed by two songs by Haydn, “With Verdure Clad” from “The Creation”, and a “Sailor’s Song”, both sung in English by Rowena Simpson, in glorious voice, by turns rapt and lyrical, and then pictorial and energetic. By way of assisting our recovery from the travails of conflict in “Lines from the Battle of the Nile” which followed, we were charmed by Douglas Mews’ characterful playing of perhaps the best-known of Haydn’s keyboard Sonatas, Hob.XVI:50 in C major, with its delicious dead-end harmonic venturings in the finale.

Later we heard another Haydn song, this one an arrangement of a Scottish traditional air, “Mary’s Dream, here delivered with such heartfelt splendor and depth of feeling as to transcend the words’ somewhat Victorian sentiments and present a powerful utterance. These sentiments managed to survive even a spoken interlude from the singer, equating the song’s story of love and loss with her own bereavement – “the unfortunate Mr Garrett”, whom we were solemnly and artlessly informed “was now at peace”……somewhat ungallantly, I confess to feeling exceedingly glad for him.

All in all, venue, presentation and theatrical and musical standards came together most beguilingly, to create something special and memorable. My advice? –  get to it if you can – it plays at 1 Essex St this week from Thursday 20th to Sunday 23rd February.

NZSO’s “Tall Tales and Tangos” musically resplendent but dramatically inert

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New Zealand Symphony Orchestra presents:

Tall Tales and Tangos

Tchaikovsky:  Selections from The Nutcracker
David Farquhar: Suite from Ring Round the Moon
Prokofiev: Peter and the Wolf

Tecwyn Evans, conductor
Anton Oliver, narrator
New Zealand Symphony Orchestra

Michael Fowler Centre, Wellington

Sat.12th October 2013 

This was a matinee concert devised specifically for children, and it was great to see so many of them at this well attended event. Rugby legend and classical music enthusiast Anton Oliver introduced the programme, giving a particularly warm welcome to the under-tens with his assurance that ”this concert is for you”.

The orchestra comprised some fifty players, probably a bit of a squeeze in many theatre pits, but eminently suited to the larger Fowler Centre for the scale of works selected. Tecwyn Evans exploited the size of this ensemble to wonderful musical effect, and elicited clean, clear playing of great finesse and warmth.

The Nutcracker highlights opened with magical delicacy from the strings, where every note of the chattering rhythms was crystal clear. This precision and clarity typified the work, which Tecwyn Evans proceeded to build with wonderful control: there was an ethereal lightness of touch for the Sugar Plum Fairy; a colourful, galloping Trepak yet clean and never rambunctious; veiled evocative suggestiveness in the Arabian Dance; and lively, gracious waltz music that built to a surging conclusion while never being overplayed. It was a most satisfying musical experience which maximized the rich contrasts and masterful orchestration of Tchaikovsky’s writing.

For a watching youngster, however, hearing it perhaps for the first time, it represented a sadly lost opportunity. Nobody explained to the young listeners that this was music composed for a company of ballet dancers. The movements were not identified in the programme notes, to provide guidance about the characters and settings. And despite the enormous talent that Wellington boasts in the dance world, there was no glittering sugar plum fairy seen shimmering to the ethereal music, no fiery jack-booted Cossack leaping across the stage, no veiled dancer insinuating her hips through the Pasha’s chamber. This claimed to be a concert for children, yet no effort had been made to provide a minimal connection between the notes and their intentions. The NZSO has done many “semi-staged” performances, there was plenty of spare room on stage with the smaller orchestra, yet sorely absent was the little lateral thinking and coordination with the dance fraternity that could have lifted a child’s experience from bewilderment to enchantment.

David Farquhar’s Ring Round the Moon suite is theatre music at its most beguiling, and it was a great choice for this programme. There is a freshness and transparency that permeates every dance and plants the epithet of “easy listening” firmly in the classical arena. Tecwyn Evans and the NZSO showed off the suite to great effect – they executed with wonderful clarity and drama the many tricky rhythms in Farquhar’s clever creation, and explored its wide range of dynamics and instrumental colour with vivacious enthusiasm. But again the music’s wonderful potential was hamstrung by the missing partner in the marriage – the dance – which could have brought its meaning and intentions so brilliantly to life. I could picture Sir Jon Trimmer and his dancer wife Jacqui stepping out with the suave Two Step, the steamy Tango, the seductive Waltzes to stunning effect at front-of-stage – but nobody had thought to invite them…………… another sadly lost opportunity for adults and youngsters alike.

Prokofiev’s Peter and the Wolf is a wonderful choice to introduce children to the realm of dramatic music and orchestral colour, where surely the great C19-20th Russian orchestrators must remain unchallenged. Tecwyn Evans and the NZSO gave a wonderful reading of the score which maximized the drama and highlighted its key moments with great clarity and panache. The joy of the light tripping strings was almost palpable as Peter bounded out the gate into the sunlit meadow in search of adventure; so was the menacing warning of the horns as the wolf circled under the cat and bird in the tree above. As the duck was consumed the dread oboe call wailed out across the auditorium with hideous finality, and the ferocious horns blasted forth with their fantastic dissonances as the wolf tried to wrest his tail from Peter’s noose. The final victory march was all it could have been to swell a child’s heart with pride at the hero’s triumph against all odds, and it capped off a superb performance from instrumental soloists and orchestra alike.

Despite that however, this work fell well short as a dramatic production for children. The tunes belonging to each character in the story were played one by one at the start, but the wind and brass players should have been brought to the front where small children could get a clear view of their instruments. Also, Prokofiev clearly considered that the narrator’s role was key to the work, and he rejected another writer’s text in favour of his own, remarking that “the balance between words and music in a work like this is very delicate..”. Anton Oliver was put on the back foot from the opening sentence, having been provided with a lapel mike that could not produce adequate speech clarity even for listeners very familiar with the work, let alone youngsters coming to the story for the first time. What happened here to Public Address Systems 101 and the broadcaster’s obligatory voice test?? Also, the boy hero’s magical story calls for a lot more than a straightforward recital of the text – its drama was left crying out for the gestures, voice production and body language of a seasoned actor with the consummate artistry of someone like Wellington’s Tim Spite. While Oliver is doubtless a wonderful choice to pull in the reluctant Southern Man to NZSO concerts in Southland, he was placed in a most uncomfortable position for a children’s concert in the urban capital.

This was an audience liberally endowed with tiny tots in glittering tutus and sparkly shoes who deserved to be transported into that world where music, drama and dance make the magical connections that can capture a child’s loyalty for life. But the outstanding performance from Evans and the NZSO could not provide this experience unaided; it was up to the artistic management to create the other half of the equation.

 

Electric music and music-theatre – Nicholas Isherwood

Posted on by Alan Wells

THE ELECTRIC VOICE

Nicholas Isherwood (voice), Michael Norris (sound diffusion)

Isaac Schankler: Mouthfeel / Lissa Meridan: shafts of shadow
Jean-Claude Risset: Otro / Michael Norris: Deep Field
Karlheinz Stockhausen: Capricorn

Adam Concert Room

Thursday, 21 August 2013, 7.30 pm

The Adam Concert Room darkens. Electronic sound wells up like a rushing wind. After several minutes, a tall, gaunt figure mounts a platform at the back. The lights fade up to reveal the futuristically silver-clad spaceman from the Dog Star.

So began Stockhausen’s Capricorn, an adapted segment of his longer work SIRIUS. Low electronic sounds underlying Nicholas Isherwood’s voice gradually rose in pitch over the half-hour (or so) of the piece, with a few exceptions, such as when the bass frequencies returned, heavily amplified (perhaps over amplified) to eclipse the voice at the point of climax. Near the end, a hauntingly naïve tune emerged out of the abstract texture, and Isherwood produced ethereal vocal harmonics (especially written for him by Stockhausen).

In 2009, Isherwood had performed Havona, part of Stockhausen’s last composition, in the same venue. Again, incongruously, I was reminded of Harry Partch. In Havona, it was chintzy synth-sounds that suggested the Partch chromelodion. In the mid-period Capricorn, it was the stylised poses (futuristic here, rather than antique) assumed by the actor-singer.

Isherwood has worked with Stockhausen, and with an impressive list of other 20th and 21st century composers, including Iannis Xenakis, whose La Deesse Athena (“The Goddess Athena”) and Kassandra, he will be performing with Stroma in their “Goddess and Storyteller” concert on Sunday (1 September 2013, VUW Hunter Council Chamber, at 4 pm). Isherwood is also the author of the forthcoming The Techniques of Singing, chapters of which will cover (among other things) extended vocal techniques, and the twelve-odd gradations between the whisper and the scream (yes, he can do them all!).

The first half of the concert consisted of world premieres of four of the six pieces for voice and electronics, that will make up The Electric Voice (the remaining two, I understand, have not yet been completed). As programmes had run out when I arrived (more had been printed by half time), I listened to the first half “blind”, knowing only that there were two New Zealand works (by Michael Norris and Lissa Meridan), and two by unfamiliar international composers (and I had no idea of the order).

The first piece was a tour de force of Isherwood’s extended techniques, such as mouth-sounds, isolated abstract phonemes, deconstructed words (“prrrrroduct”), along with the occasional vocalise. I thought: Swedish sound-text poets, Bob Cobbing, Ernst Jandl, and other sound poets, and Berio’s treatment of e. e. cummings’ poems in Circles. I thought it was not New Zealand, and I was right. Mouthfeel, by US composer Isaac Schankler, was a sort of anti-advertisement for a brand of taco.

The second composition also had something of sound poetry about it, but here there was more vowel content, and some beautiful falsetto singing that was chorused through the electronics. I thought that this, too, was not New Zealand, but I was wrong. It was Lissa Meridan’s shafts of shadow, in which the singer listened to a track through headphones and translated what he heard, vocally.

The third piece made extensive (and effective) use of panning the sound around the loudspeaker array. I thought this might have been Meridan: the bell-like chimes near the beginning reminded me of the gamelan, which Meridan would have heard when she was director of the NZSM Electronic Music Studio, and the French words could have resulted from her now living in France. But no, it was Otre by international composer Jean-Claude Risset (the only piece in this Electric Voice group not a full premiere, apparently being a version of a previous composition).

The fourth work impressed me immediately, even without my knowing that it was by Michael Norris. Deep Field I sets ancient and historical astronomy texts, with Isherwood’s voice weaving freely over sustained, elongated syllables in the live electronic part. The effect is reminiscent of the twelfth century free organum of Leonin, that moment in history when western music stood poised to develop as a single melodic line of rhythmic suppleness and intonational subtlety, over slowly changing drone notes (akin to, although still different from, middle-eastern and Indian classical music). Then Leonin’s successor Perotin added the third voice, setting western music on its path to the forty-part motet and the Symphony of a Thousand.

 

The Big C from Circa Theatre

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Circa Theatre presents:
C – a musical

Lyrics and book by Paul Jenden
Music by Gareth Farr
Director Paul Jenden

Cast
Danny Mulheron   Me
Jackie Clarke       The Voice Inside My Head
Jane Waddell       Mum
Louis Solino         Carcinoma
Sue Alexander     Pianist

Performance reviewed  – Wednesday 24th July

 At Circa Theatre to 3rd August 2013

This remarkable production follows Paul Jenden’s own journey from his diagnosis with Chronic Lymphocytic Leukaemia, through the rigours of treatment, and on to an eventual state of remission.

You might well wonder how such a subject could possibly be the stuff of a lively and entertaining stage show – doubts initially shared by Jenden himself, who writes in the programme: “When I was throwing up in a hospital bed I couldn’t have imagined that this group of amazing artists would join together to turn my illness into an inspiring show, let alone that Circa would get behind us and put it on stage. It’s a show for everyone, people with cancer, people who know people with cancer and especially those who just want a good night out.” And the musical was indeed a good night out, and an extraordinary way to explore such a subject, despite its threatening  backdrop from which none can feel immune.

Gareth Farr puts the work into “a nameless genre of ‘play with songs and poems’ ”, and says it has proved to be his favourite stage project to date, with music more akin to what he writes for classical ensembles, and particularly operatic voice and solo piano. The music is in the form of two simultaneous song cycles – the moody and dark journey to an imagined and metaphorical Venice, where he is most experimental with the musical language; and the ‘voice inside my head’ songs – which are a little closer to the fun bouncy music Paul Jenden and he have revelled in in the past.

The tuneful lyrics, so seductively presented by Jackie Clarke, punctuate a distinctly quirky script where Danny Mulheron plays the central anchorman, the cancer patient. This is no journey of  morbid introspection, yet it graphically explores the assault on the mind and self that such a disease hurls at the protagonist – much worse than the disease itself in his view.

The play is roughly chronological, and dramatically charts the surprises that confront the “victim” at every turn. The surprises of his own psychological reactions, self expectations, highs and lows, and those of friends, relatives and sundry bystanders who, of course, know best how he should tackle this monster. It is all filtered masterfully through a script that engages his earlier memories of watching Mum succumb slowly to C, and his astonishment at the courage and optimism he discovers in fellow patients.

Also winding through the music, poems and dialogue is the mute but incredibly expressive figure of Carcinoma aka Cassanova – a macabre Venetian figure who comes and goes in many different Carnival guises, shown in an astonishing array of costumes designed by Jenden himself. Sue Alexander’s masterful skills at the piano were a real asset to the production, but unfortunately the voices were over-amplified to the detriment of some scenes. A small adjustment there would be welcome.

Bouquets to the cast and production team for an excellent show, and particularly to Circa for taking this musical on board. It is a totally unexpected take on a subject that is largely taboo in the stage world, but it succeeds with flying colours. Make sure you see it.

 

 

 

 

 

 

 

 

 

Stroma’s second Mirror of Time – a “Rogues’ Gallery” of Music

Posted on by Peter Mechen

STROMA – THE MIRROR OF TIME – 2

Music by: Michael Norris, Jean-Féry Rebel, Thomas Adès,  Anthonello de Caserta, Heinrich Biber,

Louis Andriessen, Carlo Gesualdo, Philip Brownlee, Josquin des Prez, Arvo Pärt,

Thomas Preston, Erik Satie, Matteo da Perugia, Mieko Shiomi, Anon (14th C.)

(all arrangements by Michael Norris)

Stroma: Vesa-Matti Leppänen, Rebecca Struthers (violins) / Andrew Thomson (viola) / Rowan Prior (‘cello)

Kamala Bain (recorder(s) / Rowena Simpson (soprano)

Hamish McKeich (conductor)

Artistic Director: Michael Norris

St.Mary of the Angels, Wellington

Friday 26th April, 2013

With some surprise I read in the Stroma program booklet that this was in fact the SECOND “Mirror of Time” Concert presented by the Ensemble, following on from an occasion in 2012 – had I recently awakened from a kind of “Rip Van Winkel” sleep, or something? I had been to and reviewed a couple of Stroma concerts that year, but I couldn’t remember a “Mirror of Time” title, or a similar theme, even thought the expression dégustations rang a bell. Furthermore, if the first of these explorations of short but visionary, ground-breaking compositions from the Middle Ages to the present day had been as entertainingly assembled and characterfully performed as this present one, then I had indeed missed something special, while in my “sleepwalking” mode.

Having the beautiful and old-worldly church of St.Mary of the Angels available for music performance is invariably a kind of “added value” for performers and audiences alike – and so it proved on this occasion. From out of the ambience of this most atmospheric venue came the first notes of this concert’s music, the quartet of performers antiphonally placed for maximum effect, playing a twelfth-century plainchant theme “O igneous Spiritus”, written by Hildegarde of Bingen, and arranged here by Michael Norris.

Each player gave us his or her own particular variation of the plainchant tune, the effect being an awakening a kind of “music of the spheres” fancy, or, in Hildegarde’s own, if differently-contexted words, sounds “on the breath of God”. The playing, too, had a kind of other-worldly quality, heightened by drawn-out harmonics and occasionally tempered by exotic, vocal-like slides between the notes. I liked Michael Norris’ likening of the effect to “stained-glass” encapsulations of past echoes, preserved for all time. As the musicians finished playing, each one came up to the platform in front of the audience – a nice, ritualistic touch.

From then it was delight following upon delight, really, though one was never sure exactly what shape or form the delight would be presented in (which are the most exciting kinds of delights – as everybody knows!). Having properly gotten an ecclesiastical version of Michael Flanders’ famous “pitch of the hall” (from his and Donald Swann’s show “At the Drop of a Hat”), the musicians (strings joined by a recorder – well, two recorders, more of which in a moment) then proceeded to “let ‘er rip” with a shocking discord made up of a tone cluster, written two hundred years ahead of the likes of Henry Cowell and Penderecki. This came from the pen of French Baroque composer Jean-Féry Rebel, whose dates (1666-1747) make him a near-contemporary of JS Bach, though the former’s innovative experiments with rhythm and harmony put some of his music light-years apart.

As Michael Norris pointed out in the program, this and many of the pieces in the evening’s concert were arrangements of originals, rather than being “authentic” realizations, the intention being to emphasize for listeners the music’s more innovative content. Rebel’s work “Le Cahos” comes from his ballet “Les Élemens”, the full score of which has been lost in any case, leaving a “performing edition” put together by the composer for amateur use at home – so tonight’s performance was perfectly in scale with the composer’s intentions. Strings were partnered by a recorder, firstly a sopranino, whose piercing tones could be heard through the discordant opening, and then a treble instrument taken up as the music increasingly featured solo lines – it was all a bit like a rather more elemental manifestation of Vivaldi.

Leaping forward in time to the music of Thomas Adès from such radical expression suddenly didn’t feel so big a deal in this context, though in other ways Adès’ work “Lethe” made a marked contrast to Jean-Féry Rebel’s chaotic seismic irruptions. Here, Rowan Prior’s beautiful solo cello suggested the Lethe River, interwoven with eerie harmonics from the other strings, the effect not unlike a slowly revolving kinetic sculpture, or else movements from an age-old windmill out of Cervantes’ “Don Quixote”. Such antiquities used by a contemporary composer helped bridge the gap to the music of one of the concert’s earliest featured composers, Anthonello de Caserta, a 14th century song “Dame d’onour en qui” featuring the soprano voice of Rowena Simpson. De Caserta’s rhythmic configurations were a delight and a tease for the ear in this sparkling performance.

Heinrich Biber’s music is better-known, of course, and we enjoyed his “Mars”, an exerpt from Battalia à 10, with the ‘cello using a sheet of paper inserted between the strings for a “snare” effect. A different kind of unorthodox instrument use was employed by the Dutch contemporary composer Louis Andriessen in his “Ende”, requiring the player to use two recorders simultaneously, Kamala Bain rising spectacularly to the occasion, tossing the pitches between instruments and giving us an exciting acccelerando at the end.

The work of another contemporary composer, Wellington-based Philip Brownlee, followed that of Carlo Gesualdo, the latter’s music employing chromatic shifts to wonderfully haunting effect, in the madrigal “Io puri respiro in cosi gran dolor”, some sequences having an almost Gothic feel to them. Rowena Simpson’s bell-like voice both enriched and wrestled with the parallel string lines throughout, voice and instruments then “finding” one another at the end of the piece’s dying fall. Not Gesualdo, however, but Giovanni Gabrieli provided the Kiwi composer with his starting-point for “Canzona per sonare: Degraded Echoes” (a world premiere), the opening tones “summoned” as it seemed from faraway places, a sombre medieval sound made of long-held lines from strings and recorder, the lines and harmonies vying with the actual timbres, giving we listeners the opportunity to think spatially, or else indulge our preoccupations. An agitated middle section, aleatoric in effect, underlined rhythmic and pitching gestures, encompassed by piercing tones from the recorder, and took us at the end to edges of known territories, where wonderment begins.

Josquin Des Prez’s brief but beautiful “Agnus Dei” from his “Missa l’homme arm super voces musicales” threw some light upon Arvo Pärt’s following Da Pacem Domine, the latter inspired by medieval plainchant, and saturating our sensibilities with its wonderful drawn-out timelessness of utterance. And to draw us briefly from these and following enchantments came a brief soupcon from the little-known 16th-century English composer Thomas Preston, an organ piece with a strangely bitonal bass-line, strings and recorder simultaneously following separate harmonic pathways, and creating lines whose relationship sounded oddly and ear-catchingly ambivalent.

Ambivalence of various sorts certainly hovers about many of the works created by the uniquely fascinating Erik Satie. We heard an arrangement of the Prelude to his incidental music to a play “Le Fils des Étoiles”, one whose use of an offstage soprano voice and muted strings underlined the general exotic mysticism of the music and its context. Throughout I kept on thinking of Shakespeare’s “Tempest” – soundscapes of air and water created from those disembodied tones were added to Satie’s preoccupation with harmonies based on the interval of a fourth. All of it made for ambiences “rich and strange”, and had a utterly captivating aspect.

The rest brought us back to solid earth with plenty of sheerly visceral fun, Italian composer Matteo da Peruglia’s fifteenth-century 3-part canon given the “treatment”with two more parts added and the original tempo given a turbocharged “take two”, and an arrangement of the anonymous 14th-century song “Cuncti Simus Concanentes”, an energetic homage to the Virgin Mary with bells and hand-clapping thrown into the festive mix. This was after the string-players had picked up and rearranged their music on the stands from which they had been ignominiously blown by a hand-held hair-dryer, Kamala Bain employing a different kind of wind instrument to disruptive effect in Japanese composer Mieko Shiomi’s “Wind Music”. Of course, had it been Stockhausen’s music, helicopters might have arrived, and there would have been an awful din – so we were grateful that the turbulence created here, though annoying for the musicians trying to make sense of their written parts, was more-or-less containable.

All in all, a terrific assemblage of inventiveness on the part of artistic director Michael Norris, and of performance skills from the members of Stroma.

 

 

 

 

 

 

 

 

 

Rain, wind and moonlight – Stroma’s “Pierrot Lunaire” and more……

Posted on by Peter Mechen

STROMA presents PIERROT LUNAIRE

Madeleine Pierard (soprano)

Hamish McKeich (conductor)

Kirstin Eade (flute/piccolo) / Phil Green (clarinet/bass clarinet)

Blas Gonzalez (piano) / Megan Molina (violin)

Andrew Thomson (violin/viola) / Robert Ibell (‘cello)

HANNS EISLER – 14 Arten den Regen zu beschreiben (Fourteen Ways of depicting Rain)

AMNTON WEBERN – String Trio Op.20

ARNOLD SCHOENBERG – Pierrot Lunaire

Ilott Theatre, Wellington

Sunday, 25th November, 2012

Stroma brought up the 100th anniversary of Arnold Schoenberg’s landmark creation Pierrot Lunaire in unique style at Wellington’s Ilott Theatre, as part of a program featuring the music of both pupils and contemporaries of the composer.

Naturally, the concert’s focus centered firmly on Pierrot Lunaire, with the advance publicity’s imagery suggesting a theatrical presentation, one featuring the extremely gifted singer Madeleine Pierard. This performance took up the second half of the program, with Hanns Eisler’s Vierzehn Arten den Regen zu beschreiben (Fourteen Ways of depicting Rain) sharing the first half with Anton Webern’s String Trio.

The Hanns Eisler work was played here in accordance with the composer’s original intention, in tandem with a film. Dedicated to Schoenberg on the occasion of his 70th birthday and scored for the same instrumentation as the master’s Pierrot Lunaire, the music was a manifestation of Eisler’s fascination with and study of music’s relationship to the medium of film. The composer “set to music” an existing silent film, Regen (Rain) made in 1929 in Amsterdam by filmmaker Joris Ivens.  Its montage-like construction featured scenes whose placement suggested a kind of understated interplay between natural elements, mostly rain, and people going about their business in a city.

Completing the first half was Anton Webern’s String Trio Op.20, to the uninitiated, a work presenting the wonder of new sensations, especially the lyrical explorations and variants of the same throughout the first movement, then with the second movement introducing what felt like a more “physical” kind of engagement, stimulated by greater contrasts of timbre and rhythm. Interesting that the performance was “conducted” by Hamish McKeich, something that, for me, added a kind of dimension to the sounds, almost like a life-pulse beneath the contrasting plethora of surface incident.

As for “Pierrot”, it has always been regarded as “new”, even a hundred years after its creation. After the premiere in Berlin in October 1912, with the composer conducting and Albertine Zehme as the vocalist, the musicians took the work around Germany and Austria. A critic after a performance in Augsburg the following month suggested that, in order for people to “understand, enjoy, or at least feel” the work, they would need to grow “ears of the future” – a statement with particular relevance for concert-hall audiences.

It’s a truism that in almost any creative sphere things which seemed like daring, almost anarchic cutting-edge first-up presentations can in many cases become absorbed by the main-stream of forward movement, and their edges rounded-off for more general consumption. Where “shock value” was and is an integral part of a work’s message, this can place extra stress on contemporary performers to try and replicate that essential sense of outrage and anarchy, public or private.

Of course, in a world all-too-accustomed to daily presentations of atrocity and carnage as television news entertainment and much worse (so I’m told) awaiting mere mouse-click activation via the Internet, it’s perhaps the performance-context that then becomes all-important for art-music.

I believe that’s why the “refined order” of the concert-hall and its age-old associations continues to allow music of all eras their specific kinds of impact and impressions. And, with reference to this present concert, even though our ears may have gotten “used” to the relative astringencies of the sounds produced by members of the “Second Viennese School” (Schoenberg, Berg, Webern, et al…), in performance situations certain impulses activated by intensities unique to that performance will always have an impact.

Also, one doesn’t underestimate the increased familiarity and better-developed understanding of any work that comes with repeated exposure, a kind of “roundabout” that makes up for the loss of the shock value’s “swing”. This concert afforded us plenty of food for reflection along these lines, the items able to engage us in all kinds of ways and at different levels of receptivity, from surfaces to inner recesses.

Regarding the opening work by Hanns Eisler, I loved the combination of film and music on this occasion (being normally a last-ditch opponent of add-on visual accoutrement to music presentation). Of course, this was different to that, the film being the composer’s original inspiration for his music. On the face of it, fourteen musical vignettes stitched together would, one might think, produce a disjointed hotchpotch of impressions in sound, with no guarantee that the whole would be greater, etc….. But for a variety of reasons we as listeners seemed to be taken out of ourselves and ‘put in touch” with a kind of synthesis of sounds and images throughout, in places cleverly dovetailed, and in others interestingly contrasted in terms of feelings produced.

I could detect no strain, no discomfort or lack of co-ordination regarding the musicians’ performance (expertly duetted, cross-media-style, with the on-screen happenings through Hamish McKeich’s direction). It all seemed as one, the music-making reaching back from its immediate “face” to make the connections, as any piece of music might similarly fuse with aspects of a listener’s previous experience.

In the wake of Eisler’s work Webern’s Op.20 String Trio promised a potentially less immediate and engaging experience for the listener, an expectation that for me was confounded by the austere beauty of the sounds made by the trio of violinist Megan Molina, violist Andrew Thomson and ‘cellist Robert Ibell. Originally intended by the composer as a three-movement work, the surviving two movements seemed complementary, a kind of “air and dance” pairing. A commentator whose analysis I read called the work “jagged and severe”, qualifying the judgement with “yet strangely beautiful and lyrical”. The latter statement came out more readily with these musicians’ playing.

Here were finely-wrought exhalations of breath at the beginning, a gentle flow of movement, angular in places, and flecked with little irruptions and pizzicati impulses. Its companion movement seemed more impulsive, volatile in line and figuration as well as in dynamics, each player in this performance seeming both singer (in places more like “sprechgesang”) and listener, such was the playing’s interactive spirit throughout.

The interval done, Madeleine Pierard took the platform, dressed and made-up as Pierrot and accompanied by Hamish McKeich and the ensemble. She was stationed to one side, well-lit, while the musicians and conductor were in the centre. Immediately behind the group was a backdrop of a screen on which titles, translations and images were played, giving the audience plenty of help regarding the texts of the poems. First impressions were of an immediacy and clarity of utterance from both singer (beautiful diction) and players (beautifully-focused, transparent lines and atmospheric tones). The voice encompassed a frequently startling dynamic range, wonderfully mirrored by similarly explosive accents and contrasts from the players.

I confess I was transfixed by the clarity and focus of it all throughout the first couple of numbers. It actually took me until midway through Part One’s grouping of seven songs to regain my critical senses sufficiently to realize just why it was that Madeleine Pierard’s performance sounded so much more lyrical, wistful and engagingly human than any other singer I’d heard on record (I had never heard the work in concert before). She was actually SINGING a great deal of the text and sustaining many of the pitches of her notes to a greater extent that any other exponents of the role I’d encountered. There was, of course, variation in what I’d previously experienced, to the extent that, without a score it was impossible to plot precisely where Schoenberg had intended his “singer” to sing and where to break into speech, or at least “bend” the note pitches. But this performance was, to my ears, “sung” like no other I’d heard.

The effect was to “humanize” many of the poems’ utterances, and play down the more grotesque, often deranged-sounding modes adopted by the singer. Whether this was how Madeleine Pierard “saw” the work, along with her conductor, Hamish McKeich, or whether it was due partly or wholly to a lack of experience in performing it, resulting in more conventionally accepted modes of utterance being used, I’m not sure. Schoenberg himself was undoubtedly influenced when writing the work by the vocal capabilities of the first person to “create” the role of Pierrot, the actress Albertine Zehme (who, incidentally, chose the poems for the work). I came across a fragment of the correspondence between composer and singer-actress which was revealing:

The singing voice, that supernatural, chastely-controlled instrument, ideally beautiful precisely in its ascetic lack of freedom, is not suited to strong eruptions of feeling…..Life cannot be exhausted by the beautiful sound alone. The deepest final happiness, the deepest final sorrow dies away unheard, as a silent scream within our breast, which threatens to fly apart, or to erupt like a stream of lava from our lips…..We need both the tones of song as well as those of speech. My unceasing striving in search of the ultimate expressive capabilities for the “artistic experience in tone” has taught me this fact.

There was no doubting Madeleine Pierard’s considerable skills in bring this work to life, and her ability to make the words of the poetry pulsate – only in one or two instances did I feel that she hadn’t freed the music completely from the page, partly due to her playing-down the grotesque, spectral element which the sprechgesang mode would have helped emphasise – in Der kranke Mond which concludes the first part, she didn’t quite match the ambience of her flutist Kirsty Eade’s wonderful solo, her voice a shade earthbound, without the suspended gleam of the moonlight’s focus. But what a contrast, then, with her almost primordial, pitch-dark rendering of the following Nacht! – her deep-throated tones redolent of the abyss, as it were. She also captured the out-and-out horror of the Rote Messe, with its “gruesome Eucharist”, though I thought the sound of the words of Die Kreuze, the final song of Part Two, needed more of a certain spectral, “blood-bled” quality, something that more focused sprechgesang would have possibly given. But certainly there was vocal energy and finesse from this artist to burn.

The singer’s costuming and make-up was first-class, as was the organization of the backdrop screen and the timing of the text translations. I did wonder whether her lighting-pool was too unrelieved – some shadow on the face at certain angles would have given some contrast and allowed her a bit of freedom – as it was, every glance and every flicker of expression was laid bare, throughout. Make-up and costume suggested a theatrical statement was being made, and I felt it could have been followed through more strongly and consistently. Again,I don’t know whether Madeleine Pierard’s presentation was “directed” as such by anybody, but she could have been encouraged to incorporate what glances she did give her conductor (understandable in a score such as this!) into a kind of pattern of derangement or moonstruckness – something theatrical, or at least cabaret-like. And I would have liked her lighting to have had SOME shadow, a dark line allowing some facial contouring which she could have used for some respite along with more covert purposes.

Enough! Hang these comments, which matter far less than the fact that Pierrot was here a “tour de force”, a work whose stature was overwhelmingly conveyed by singer, conductor and players. Each of the instrumentalists did splendid things, conductor Hamish McKeich was the music’s flexible but unbreakable anchor-chain, and Madeleine Pierard’s voice gave us its beating heart. Performers and everybody associated with the Stroma team deserve our gratitude for giving us the chance to share so graphically and tellingly in a great work’s hundredth anniversary.

 

Scintillating 42nd Street from Wellington Musical Theatre

Posted on by Lindis Taylor

Lyrics: Al Dubin; Music: Harry Warren; Choreography: Gower Champion

Production: Michael Highsted (Executive producer), Stephen Gledhill (Artistic director), Jennifer Petrovich (Stage director), Michael Nicholas Williams (Music director), Belinda Harvey (Choreographer)

St James Theatre, Wellington

29 September to 15 October (seen on Tuesday 4 October)

42nd Street is a relatively unusual case of a musical that saw the light of day as a musical film (in 1933) and was re-created for the Broadway stage in 1980. By that time the lyricist (Al Dubin) was dead, the choreographer (Gower Champion) died on opening night while composer Harry Warren died a year later. The Broadway reincarnation was produced by David Merrick.

And it is probably true that the names Warren and Dubin are known only to Hollywood and Broadway aficionados: compare Rodgers and Hammerstein, Lerner and Loewe, or the many famous Broadway composers known to everyone. Another thing that surprised me was to find under the entry for Harry Warren in the Faber Companion to 20th Century Popular Music, not even a mention of 42nd Street.

These non-conformist elements might help explain why, in spite of 42nd Street‘s having become famous since it’s Broadway arrival, it is not seen in the same class as the classics of the true ‘musical’: Showboat, Annie Get Your Gun, South Pacific, My Fair Lady or Guys and Dolls.

Though I cannot claim authority to say so, I am sure that 42nd Street has never had a better production in New Zealand than this (though I regret to say I didn’t see either of the company’s earlier highly successful productions in 1995 and 1999, and am aware of Auckland’s last year), and its excellence has given the piece its best possible advocacy. There are more hit songs than in most ‘rock operas’ of the past 40 years – ‘You’re getting to be a habit with me’, ‘I only have eyes for you’, We’re in the money’, ‘Lullaby of Broadway’ and ‘42nd Street’ itself ; the rest are extremely good imitations of memorable, top-class numbers – and they seem to become that in the thrilling, committed performances that so fill the house.

More than most musicals, this show rests for its success on dance even more than on its several great musical numbers. Furthermore, in a show like this it’s rather easy to take the orchestra as read, not hearing the sophisticated orchestration that reinforces the story and it ups and downs.

The 11 versatile players (sounding much larger) from the Vector Wellington Orchestra, amplified of course though not excessively, produce quite brilliant performances, of polish, flair and an instinctive feel for Broadway idiom. The programme’s orchestral listings were confused.

These are the actual details:
Trumpet: Lex French and Barrett Hocking
Trombone: Jonathan Harker
Horn: Shadley van Wyk
Soprano Sax, Alto Sax, Flute, Clarinet: Chris Buckland
Alto Sax, Flute, Clarinet: Hayden Hockley
Tenor Sax, Clarinet: Mike Isaac
Baritone Sax, Bass Clarinet: Andre Paris
Percussion: Jeremy Fitzsimons
Keyboards/Banjo: Dayle Jellyman
Bass: Rowan Clarke

But it’s the dance that makes it the spectacular production triumph that it surely is.

At the start the curtain rises just a metre to show the classic legs of the dancers moving in raffish unison, and it stays there for longer then you expect. The style of dance, of course, is tap, a genre that has not had a high profile in recent times, but hangs on and perhaps as a result of a show like this, is seeing a marked renaissance. 42nd Street has certainly taken centre stage with my tap-entranced, 11-year-old grand-daughter who has not stopped raving about it since seeing it in the weekend.

The large pool of excellent dancers available in Wellington’s very strong dance environment is evident from the company’s ability to recruit its large corps de ballet from young women with uniformly lovely legs that move in elaborate tap routines with rhythmic ease and sensuality.  Scene after scene, chorus after chorus, is simply mesmerizing in its quintessential Broadway glitz; the dancing is beyond stylish; if it were more flawless it could risk being seen as too perfect.

There is now a strong impulse to see the early 30s – the middle of the Great Depression – through nostalgic eyes, and the show captures that, but without the grime and poverty. It leaves you with the feeling that the 1933 film must have aimed at – to lift a stricken populace momentarily from their harrowing daily life to a few hours of make-believe and optimism. For here is the story of a young, talented dancer from small-town Pennsylvania (Allentown, 100km north of Philadelphia and with a population of round 100,000 in the 30s) who through gutsiness, talent and luck steps into the principal dancer’s shoes with 36 hours to learn the entire role – words, music and dance. And of course she survives.

In many ways it’s a time-worn story, but so, in essence, are the stories of all great dramas and every genre of musical theatre including opera.  The company is lucky to have on hand a palpable star to take the role of Peggy Sawyer – Courtney Hale, pretty and with a fresh agility that personifies the ‘anything goes’, as well as the fragility of youth.

Every other role is filled too with perfectly cast singers and for the most part singing dancers. The show-within-a-show, called Pretty Lady, about to open at Atlantic City prior to a later Broadway opening, is produced by Julian Marsh, sung by Jeff Kingsford-Brown, the essence of the dynamic, impulsive impresario who has all the artistic nouse and inspirational gifts required. His ballet master, Andy Lee is Kelly Maguren; he knows his trade, and it’s a believable, unglamorised portrayal. Then there’s the lively, fresh-faced Billy Lawler, danced and sung with tremendous verve by Dion Thorne, and the inevitable financial backer and Dorothy’s lover/sugar-daddy Abner Dillon played by John Goddard, and there are sharp vignettes from David Cox and Nick Swan and Raef Mitchell.

The principal female performers were equally impressive.

The former star, now just a little past it, is Dorothy Brock: here one’s credulity is tested for Mary-Louise Thomas is anything but ‘over the hill’ – pretty, one of the best voices in the cast, and clearly on the rise.  On Pretty Lady‘s opening night she and Peggy (who had made it into the chorus, having been initially excluded for being late at the audition) collide and Dorothy breaks her ankle. The curtain falls and Julian comes out to announce the show cancelled: a stunning end to Act I.

Her colleagues make an impact in the scene where they fill Peggy in on Broadway culture: led by Stephanie Gartrell in the maternal role of Maggie, with Any-time Annie (Rochelle Rose), Phyllis (Shauni Hannah) and Lorraine (Rebecca Hewitt); they delivered a string of great one-liners that remind one that the language is as racy and punchy as the music and the dance.

Act II opens with Peggy’s fellow dancers, concerned inter alia to keep the show and their fees going, persuading Julian to give it a reprieve, giving Peggy the principal’s role, and he races to Philadelphia’s Broad Street Station to intercept her on her dispirited way back home, which is where the show-stopping ‘Lullaby of Broadway’ emerges. Perhaps Act II then has little left to tell apart from Peggy’s panic at the task confronting her, and eventually confirming Peggy’s overwhelming success as well as her humility and her loyalty to her colleagues. The glittering dance ensembles continue, each topping the one before, till one realizes that the choruses have become the finale and endless encore scenes that the audience can hardly tear themselves away from.

It’s the sort of show that totally reinforces a belief in the integrity of the Broadway musical genre.

See the comprehensive feature from The Dominion Post describing the background to the production elements and the knife-edge funding regime that the company experiences, not far removed from that of the musical play itself, at: http://www.stuff.co.nz/dominion-post/culture/performance/5702185/Putting-it-all-on-the-line

DIRTY BEASTS and other stories

Posted on by Peter Mechen

Oliver Hancock – Three Tolkien Miniatures / Paul Patterson – Rebecca / Little Red Riding Hood

Martin Butler – Dirty Beasts

Nigel Collins (narrator), Diedre Irons (piano)

ZEPHYR – Bridget Douglas (flute), Robert Orr (oboe), Robert Weeks (bassoon), Phil Green (clarinet)

with: Vessa-Matti Leppanen (violin), Rowan Prior (‘cello), Patrick Barry (clarinet), Mark Carter (trumpet),

David Bremner (trombone), Leonard Sakofsky (percussion), Emma Sayers (piano)

New Zealand International Festival of the Arts

Wellington Town Hall

Saturday, 7th March 2010, 2pm

Music, theatre and story together provided diverting entertainment for an enthusiastic audience of children of all ages at the Town Hall, with something for everybody, young and old and somewhere in between. These settings of different generations of cautionary tales for children by contemporary composers were brought to life by narrator Nigel Collins, with vivid and colourful support from some of Wellington’s finest musicians, some of whom were, at times, tantalisingly difficult to recognise in their various costumes.

A pity the staging of this presentation wasn’t ideal, with the Town Hall platform built out as a smallish square onto which the performers crowded, the musicians in a rather tight and inwardly-looking semi-circle that didn’t help generate enough performer-and-audience contact – we weren’t sufficiently encouraged by the arrangement to project ourselves into the music-making spaces. What it meant was that Nigel Collins and his cohorts had to work all the harder to draw their audience in and enable that fusion with fancy and imagination which makes for memorable theatrical (and musical) experiences. And, if the stage was too small, the venue itself was too big, the empty spaces not allowing that sense of intimacy and involvement between and with all those present, performers and audience members.

This said, the energies and skills of the performers kept up the flow between platform and auditorium – of course, the “nature of the beast” meant that there would possibly be a few surprises in store, everything seeming to be somewhat outside the parameters of a “normal” concert-going experience, which was itself an enticing prospect. The performers certainly entered into the spirit of the entertainment, and seemed to be thoroughly enjoying themselves – as did the audience, a few “drop-offs” apart (which is par for the ‘children-entertainment’ course, I would expect).

Nigel Collins’ appearance as The White Rabbit was the occasion for great mirth, though I thought the section describing the predatory habits of wolves, vividly illustrated by the musicians though it was, elongated the somewhat arch Roald Dahl story of Little Red Riding Hood overmuch in Paul Patterson’s setting. Even the narrator’s gorgeously dipsomaniac Grandma didn’t rescue the retelling from its longueurs (partly the author’s fault), though the denoument, with a very modern Miss Riding Hood conquering all, finally got things moving (and I loved the epilogue’s Facade-like strains accompanying Miss Hood’s parading of her wolf-skin coat). Oliver Hancock’s Three Tolkien Miniatures was next, the wind players, helped by some magical piano-string activations, marvellously evoking the dark expanses of the Forest, with its gradually-burgeoning alarms and horrors recalled by the Tolkien poems, focusing upon both Middle-Earth and pre-Hobbit characters.

Paul Patterson’s Rebecca (who slammed doors for fun and perished miserably) brought to mind for those with long enough memories a different, somewhat more punitive era of child-rearing. Projected with a deliciously awful French accent by Nigel Collins, the “contes de fée noir” came to life with the help of the deliciously disguised Emma Sayers on piano and Lenny Sakofsky contriving percussive noises, the latter making excruciating sounds with a number of balloons after releasing a brace of helium-filled ones (an opportunity for child-involvement missed, there, I thought). Nigel Collins mixed up a couple of words in the excitement surrounding the unfortunate eponymous heroine’s demise, but it all added suitably to the furore, which became nicely funereal towards the end (apart from a rogue balloon leaving its mark on the proceedings, doing what balloons do best).

Last was Martin Butler’s “Dirty Beasts”, settings of Roald Dahl’s somewhat nauseously crude poems depicting various interactions between animals and humans. Of the three sections I enjoyed the music for the first most of all, the spiky, chattering writing for winds readily evoking the pig’s rising panic concerning his fate and his vengeful plan of grisly retribution. Somehow the other two realisations didn’t have sufficient visceral impact to be truly memorable, the “Tummy Beast” in particular disappointing us with its refusal to explore any truly gastro-endocrinal depths in the writing – perhaps a contra-bassoon was what was lacking! Nevertheless, appetites were more-or-less satisfied, and a sense of good having more-or-less prevailed sent everybody home contented.

‘Home’, a musical play of New Zealand and World War I

Posted on by Lindis Taylor

Weaving Scottish songs into a New Zealand war. (The Fringe Festival) 

Artistic direction: Jacqueline Coats; graphic design: Katie Chalmers; singers: Rowena Simpson and Stuart Coats; piano: Douglas Mews

Tararua Tramping Club, Moncrieff Street, Mount Victoria

Thursday 25 February 2010

The New Zealand war, so advertised in the production’s publicity, turns out to be not the land wars of the 19th century, but World War I, specifically the Gallipoli experience to which it has become fashionable to attribute the emergence of some sort of national New Zealand soul and identity.

The promotion also offers the following: “‘Home’ is an original performance of song and spoken word, weaving the story of Scottish immigrants into the story of a nation.  The performance uses diary entries and letters to tell the story of Maggie, a recent immigrant from Scotland, and Johnnie, a first generation New Zealander, who meet in Wellington just before the outbreak of WWI . The text is set to traditional Scottish folk songs from a book bought in Invercargill in the 1890s.”

It is a duodrama, with an important third performer in Douglas Mews who plays the piano accompaniments to the songs and some music on his own.

The action takes place in the very untheatrical space, a former church belonging to the Tararua Tramping Club. It’s 1910; the only props are two clothes lines with blankets hanging on them; there is no lighting or scenery to help distinguish the changes of place later in the action, from a New Zealand farm to the steep hills of Gallipoli.

After Douglas Mews has played a prelude consisting of a couple of Scottish folk songs, Johnny, Stuart Coats, welcomed us to a concert by the local Caledonian Society. He sings the first stanza of Mairi’s Wedding, calling up Maggie, a recent arrival from Scotland, to sing the rest. There’s initial attraction between them, a tactical blunder that temporarily separates them, then love which is again disturbed for a while by political differences (he’s a Massey supporter – not unexpected for a young man proud of his farming credentials while she, from a poor background, is Liberal), and then the war which inspires Johnny to enlist.

Scottish and North country songs illuminate each phase of the story, some tenuously. But both singers showed a vocal skill, musicality and theatrical flair that gave the piece its reality and proved the main source of enjoyment. Coats’s voice is coloured by a tremulous vibrato that recalls an older singing style that enhances the show’s authenticity. It would not be fair to say that Rowena Simpson’s accomplishment in early music styles through study in Holland and performance with various important baroque and classical ensembles was demanded here but her vocal talents were a major asset in the performance. The broad Scottish accent that she adopted was convincing if a bit hard to understand at times.

The core of the drama is conveyed through letters exchanged between the two, which each reads either as writer or recipient. Knowing, with hind-sight, the high risk of death or serious injury in that ill-conceived campaign, tension was automatic; the story exploited it well and the singers made it more believable than the unforgiving staging might have allowed.

The tension held till the very end when reports of Johnny’s missing were revealed as the result of a not uncommon name confusion, and he returns with only minor wounds to his happy wife.

The story prompted me to reflect on recent reading about the First World War. New Zealanders like to paint the Gallipoli experience as the key nation-building event, forged in the horror of casuality rates per head of population that were something extraordinary.

But it’s odd how our knowledge is so confined to the relatively limited British and Empire involvement in the war.

The chronology in the programme notes that 2721 New Zealanders died at Gallipoli, when New Zealand’s total population was just over a million. In the following year, 1916, the prolonged and hideous battle of Verdun claimed some 160,000 French lives, when France’s population was 40 million, some 60 percent greater than New Zealand’s losses on a per capita basis. German losses were not far short of the French.