Anna
Nicole, came this reminder — both sad and hopeful- that
Mark-Anthony Turnage was once capable of writing urgent, exciting music
theatre. Indeed, from this composer I have heard nothing finer, perhaps nothing
to match, this, his first opera, to Steven Berkoff’s libretto after his own
Oedipal play, Greek. Adverse circumstances notwithstanding, this
performance and production from Music Theatre Wales offered everything one
could reasonably hope for, and more. Marcus Farnsworth, who had been ailing on
the first night, had awoken with no voice, to be replaced by an heroic
combination of the flown-in-from-Berlin-that-afternoon Alastair Shelton-Smith
to sing the part on stage and Michael McCarthy to act, to mime the sung
passages, and to deliver the spoken text. If anything, the practice added to
the feeling of alienation, social and theatrical, but it would have come to
nothing without such committed performances. From the word go, or rather a
somewhat bluer word than that, when McCarthy hastened toward the stage, scarily
impersonating an irate member of the audience hurling abuse at the audience, he
inhabited the role visually and gesturally. His own production frames the
performance convincingly, offering a return into the audience as Eddy is
rejected by his family, those who supposedly love him unable to stomach his
desire to ‘climb back inside my mum’. Shelton-Smith’s assuredly protean
yet deeply felt vocal performance fully deserved the rapturous reception it
received from audience and fellow cast-members alike, and would have done so
even if it had not been for the particular circumstances.
But the other performances were equally assured. Sally Silver and Louise
Winter proved as versatile in vocal as in acting terms, their combination as
lesbian separatist sphinx being sleazy and savagely humorous in equal measure.
Gwion Thomas was just as impressive in the other male roles, the sad would-be
patriarch as much as the brutal police chief. The Music Theatre Wales Ensemble
under Michael Rafferty played Turnage’s score as to the manner born: angry
and soulful, biting and tender, urgent and yet offering oases for reflection.
Whether called upon to play in conventional terms, to shout, to stamp, or even
to strike a pose, there could be no gainsaying the level of artistry on offer
from players and conductor alike.
McCarthy’s production places the work firmly in the tradition of music
theatre — doubtless partly out of necessity, but, unlike in the opera, virtue
certainly arises out of fate. Props are minimal but used to full effect, the
cast in proper post-Brechtian fashion undertaking the stage business too. Video
projections of key words, not least Berkoff’s inevitable ‘Motherfucker’,
heightens both drama and alienation. But perhaps the principal virtue is that
of allowing the anger of Berkoff and Turnage’s drama to unfold, within an
intelligent yet far from attention-seeking frame. The transposition of the
Oedipus myth to 1980s London now seems both of its time and yet relevant to
ours. It works as a far more daring version of the original EastEnders
might have done, yet with injection of magic realism. Both Berkoff’s ear for
language — the ability to forge a stylised ‘vernacular’, which yet can
occasionally shift into knowingly would-be Shakespearean poetry — and
Turnage’s response and intensification, whether his pounding protest rhythms
or the jazzy seduction of his beloved saxophone, work just as McCarthy’s
staging does: they grip and yet they will also, if not always, distance. Above
all, one continues to feel and indeed to reiterate the anger felt by outcasts
in the brutal Britain of Margaret Thatcher. Incest offers not only its own
story, but stands or can come to stand also for other forms of social and
sexual exclusion. Hearing of the plague, one can think of it as Thatcherism and
the ignorant, hypocritical right-wing populism that continues to infest
political discourse, or one can turn it round and view it as the guardians of
morality most certainly would have done at the time of the 1988 premiere, as
the fruits of sexual ‘deviance’: the tragedy of HIV/AIDS.
That space to think, to interpret is not the least of the work’s virtues,
fully realised in performance. Its musical lineage is distinguished; on this
occasion, those coming to mind included Stravinsky, Andriessen, magical shards
of Knussen, and, alongside the music theatre of the Manchester School, that of
Henze too, especially the angry social protest of Natascha Ungeheuer.
But it is its own work, now with its own performance tradition, of which Music
Theatre Wales’s contribution is heartily to be welcomed.
Mark Berry
Cast and production information:
Eddy: Alastair Shelton-Smith/Michael McCarthy; Eddy’s
Mum/Waitress/Sphinx: Sally Silver; Eddy’s Sister/Waitress who becomes
Eddy’s Wife/Sphinx: Louise Winter; Dad/CafÈ Manager/Chief of Police: Gwion
Thomas. Director: Michael McCarthy; Designs: Simon Banham; Lighting: Ace
McCarron, Jon Turtle. The Music Theatre Wales Ensemble/Michael Rafferty
(conductor). Linbury Studio Theatre, Royal Opera House, Covent Garden, Tuesday
22 October 2013.
image=http://www.operatoday.com/Turnage.png
image_description=Mark-Anthony Turnage [Photo by Philip Gatward]
product=yes
product_title=Mark-Anthony Turnage, Greek
product_by=A review by Mark Berry
product_id=Above: Mark-Anthony Turnage [Photo by Philip Gatward]