A funky vision and a few fun twists on Puccini’s classic.
I think I can comfortably assume that the English Touring Opera’s production of Manson Lescaut at the Oxford Playhouse is vastly different from its first performances in Turin, 1893. Director and librettist Jude Christian’s fascinating biography of recent work had me on tenterhooks for the main event, and her revival of this Puccini classic did not fail to excite the senses and turn the classical world on its head.
Practically, the vision was completely clear and, at the opening, completely blue. Tiled walls like an empty swimming pool and an unusual display of water coolers outlined the stage as the monochromatic colours of the rainbow were introduced in the costumes of the ensemble. These charmingly contemporary costumes remained unchanged throughout, keeping the modern vibe in check and the audience visually alert. Symbolic set pieces were effective; I particularly enjoyed Geronte’s ’watchful eye’ in act II and the huge gold pug in act IV, once I’d worked out what it was. I felt the choices Christian had made to revamp the opera from a feminist perspective had power and energy, but lacked some execution. I was glad at the interval that I couldn’t yet ‘work it out’, but was somewhat disappointed in the final acts by dwindling clarity and drawn out goodbyes. That being said, the funky and ambitious direction made me, as an infrequent opera viewer, infinitely more likely to come back for more!
Conductor and music director Gerry Cornelius led the production with skill and assurance, and the orchestra was faultless. I felt this especially in the second half, where the music did the emotional ‘heavy lifting’ with verve and confidence. Voices were exceptional; I was particularly struck by soprano Jenny Stafford, who propelled the story with unwavering vocal energy and a convincing performance as Manon. I enjoyed Edward Hawkins’ Geronte, who commanded the stage fabulously in pink and summed up Christian’s ‘surreal nightmare’ take on the opera very well. The movement direction was imaginative, amusing and well executed by the ensemble when present. In duologues I found myself craving this energy, and felt that the central couple’s relationship at times relied on the lines sung and the music behind them.
All in all, a funny and surprising twist on a beautiful opera, filled with colour and open to interpretation. I was interested but not surprised to find I brought the average age of the audience down by a long way, and hope that this kind of active reimagination will encourage the younger generation to give opera a chance!