A unique idea slightly tied down by its commitment to its delivery.
The Hive is an innovative new opera which casts a lens across the world of female serial killers through a hypothetical case study created from the real research of writer Carole Hayman. The orchestral backing is minimalist, possibly a necessity given the smaller space of the auditorium, but is well selected and offers a suspenseful backing to the operatic pieces. Unfortunately it can be quite loud in relation to the singing of the performers and often the nuances of some of the more verbose dialogue (of which there is quite a lot) is lost under the swell of the double bass or the rolls of the harp. This is a shame, as with a more refined sense of balance the musical arrangements would really serve to underscore the more dramatic moments of the opera, rather than simply downing them out.
The singing itself is, as might be expected, remarkable, with an excellent range of vocal performances delivered throughout. An especially excellent turn is delivered tonight by soprano Olivia Bell whose singing is truly remarkable – engaging throughout and possessed of fantastic range and emotion.
The writing is unfortunately a sticking point that cannot be entirely buoyed by the skilled delivery of the cast. Much of the overly clinical and, as mentioned, verbose language feels quite clunky when in the context of this operatic setting and, in combination with the somewhat inconsistent volume of the instrumentation, can make much of it – ironically – rather difficult to follow. It is possible this is tied to the productions undercurrent of dark humor and used as a juxtaposition with the often more grandiose art form it is enveloped within, but this does not fully redeem it from a disappointing lack of clarity as to the events and plotlines being enacted.
The subject matter itself, whilst dark and at times verging on unsettling, however, is handled well – there is a level of nuance to its treatment of the case it creates which is both interesting and thought-provoking.
The costuming is not extravagant but is cleverly set up to allow performers to alternate between their roles quickly and with clear visual signposting for the audience as to the scenarios and characters on stage – something very welcome when the expository dialogue can be so difficult to engage with. Similarly the lighting and stage dressing are both decisive and minimalist: The same bloodstains that bedeck the lower parts of the chorus’ costumes are daubed on the legs of the folding chairs that make up some of the only props and scenery used, tying the visual theming together well. The spotlights are used to great effect in portraying a sense of isolation and throwing the performers at various times into harsh relief, sometimes even with an air of vulnerability.
An ambitious and well executed production here which could only be somewhat improved by some more well manicured writing and a finer attention to acoustics. Worth a visit for those interested in either true crime or the opera and provides an audience with an intriguing two hours.