Tag: liverpool

IN CONVERSATION WITH: Teddy Oyediran and Joseph Munroe-Robinson

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Talawa, the UK’s leading Black British theatre company and the historic Liverpool Playhouse have come together to co-commission Syncopated, a brand-new play that brings a little-known piece of Black British history to life through music, memory and storytelling at Liverpool Everyman from 23rd September. We sat down with Teddy Oyediran and Joseph Munroe-Robinson to discuss their upcoming performances.

Teddy Oyediran (HER/Penny)

Penny begins as an inquisitive Scouser but becomes a vessel for forgotten voices—how did you balance her curiosity with the weight of the history she uncovers?

I tried to keep Her’s curiosity at the heart of her journey, it’s her openness, eagerness and need to ask questions that allows the hidden voices of the other characters to surface. At the same time, I had to let the emotional weight of what she uncovers land on me as an actor, so the audience can feel that shift too. It’s a balance between keeping her spark alive while allowing the history to affect her.

As the play moves between lightness, romance, and the shadows of race riots, how do you navigate those emotional shifts in performance?

For me, it’s about truthfully following Penny and Her’s journey moment to moment. Life itself carries those shifts, one minute you’re laughing or falling in love, the next you’re facing something really heavy and sad. So, I try not to force the contrasts but trust the writing and the shifts through the play. Allowing myself to feel the joy fully makes the darker moments hit harder, and vice versa.

What excites you about bringing a Liverpool audience into this story, given the city’s deep and sometimes complicated relationship with Black history and music?

Liverpool audiences are so connected to their city’s identity, and that’s exactly what this play taps into. What excites me is the chance to hold up a mirror and to celebrate the richness of Liverpool’s Black cultural contributions while also acknowledging the struggles and silencing the Black community faced. It feels powerful to share that story here, where the echoes of it are still very much alive in the streets, the music, and the people.

Joseph Munroe-Robinson (HIM/Frank)

Frank is both a dreamer and a witness to turbulent times—how did you approach embodying his journey as a musician caught between love, history, and survival?

I think finding the similarities between myself and Frank at the start of the process really allow me to empathise with his experiences and there are quite a few that I discovered from the get-go. The main similarity was how his passion for the music gives him hope to manoeuvre through the troubled waters he travels through and the turbulent times he grows up in.

The play blurs the line between present-day Liverpool and 1919—what was most challenging about shifting between these layered worlds?

The most challenging thing is the constant switch at a drop of hat between the two different characters of two different timelines. The fact that they were born over 100 years apart and in different parts of the world means that there’s a lot of embodiment and intricacies that I had to discover and play with. The goal is to try and make them as distinctively separate from each other as possible.

Jazz in Syncopated isn’t just music but memory and resistance—how does that influence the way you perform on stage?

Passion for the music must be visible on stage – the audience should feel that it’s Frank’s catalyst for existing throughout the majority of the play.

REVIEW: Les Miserablés: The UK Amateur Première

Published on by Heather DoquiatanLeave a comment

Rating: 5 out of 5.

Have you heard the people sing? (You should!)

Watching Gareth Smith deliver a flawless rendition of ‘Bring Him Home’ at the Liverpool Empire Theatre was all the more impressive knowing that the programme listed him as a Dispensing Optician. It was strange to leaf through the bios of those onstage and read about their full-time occupations, realising they have somehow balanced rehearsing and performing to a professional standard alongside working as the aforementioned optician, a Teaching Assistant, and in PR and Communications, to name a few.
I reserve a certain level of awe for people who are able – and, crucially, willing – to put so much passion, time, and energy into their craft, be that sports, music, or theatre, without being paid. Nothing about last night’s performance of Les Miserablés would indicate that it was an amateur production, and nor would the resounding standing ovation the show received.

Beloved by theatre fans worldwide, this particular performance of Les Mis was presented by BOST (the Birkenhead Operatic Society Trust) Musicals, Liverpool Empire Creative Learning, Romiley Operatic Society, and Tip Top Productions, as part of a project celebrating the musical’s 40th anniversary, named – aptly – the Let the People Sing project. As one of just 11 amateur companies in the UK to be invited by Music Theatre International and Cameron Mackintosh Ltd to present Les Mis in this manner, BOST Musicals and Liverpool Empire Creative took the role of lead producers, with the orchestra ably directed – even through the often extremely dense dry ice – by Paul Lawton.

Without rehashing the plot of a well-loved musical, I’ll note how much of a true pleasure it was to see this particular performance of it. I wrote earlier that nothing would have indicated that this was an amateur performance, but perhaps that’s incorrect – the abject love that each and every cast member so clearly had for musical theatre shone through in their every movement, word, and note. Such tangible passion arguably added an abstract extra element to the show.

It would be fairly impossible to fault anyone’s performance, but I must give particular mention to the depiction of the Thenardiers, the bawdy and increasingly depraved innkeeper and wife, as portrayed by Michael Pearson and Lou Steggals: the duo played off one another perfectly, and hit the mark in bringing some levity to the evening – the audience clapped and booed along as required. I must also mention again Gareth Smith – his Jean Valjean truly was the bedrock in a sea of wonderful performances, and he deserved every second of the rapturous cheers his bows provoked from the audience.

This felt like a notably young cast, which married nicely with one of its other main strengths: the sheer number in the company. Young voices are strong, young voices in great numbers are stronger, and young voices in great numbers filled with a fervor for musical theatre could raise any roof on earth. This benefitted the highly emotive score of Les Mis, especially during bigger numbers such as ‘One Day More’ and ‘Do You Hear the People Sing?’, and the consistently high energy provided a constant undercurrent of revolutionary spirit.

The staging of this performance didn’t betray its (technically) amateur status, either – Aaron J Dootson’s lighting under and around the barricade and the various battles was by turn foreboding and actively menacing, and the projections of poignant passages from Victor Hugo’s original book of Les Miserablés at pertinent moments added an extra level of gravitas. Holly Speakman’s set appeared as a cut out of this same book, allowing the audience to ‘enter the story’ before it’s even begun, and a nod must also go to the pleasing complexity of the moveable stair structure used in the barricade.
If anything is taken from this review, it’s hopefully that amateur performances are so often amateur in name only – in my humble opinion, this is every bit as good as something you might see on the West End. Have you heard the people sing? (You should!).

Kinky Boots the musical: Book by Harvey Fierstein 
Music and Lyrics by Cyndi Lauper
Original Broadway Production Directed and Choreographed by Jerry Mitchell
Based on the Miramax motion picture Kinky Boots
Written by Geoff Deane and Tim Firth Directed by Nikolai Foster 
Choreographed by Leah Hill
Musical Supervision by George Dyer
Set and Costume Design by Robert Jones
Lighting Design by Ben Cracknell 
Sound Design by Adam Fisher The Curve Theatre, Leicester, Credit: Johan Persson/

IN CONVERSATION WITH: Dan Partridge

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The Broadway and West End phenomenon Kinky Boots is strutting back to Liverpool Empire Theatre this week in a brand-new production starring Strictly Come Dancing’s Johannes Radebe and rising star Dan Partridge. Here, we chat to Dan about the show based on a true story and hit movie, featuring music and lyrics from pop icon Cyndi Lauper… 

Dan, Kinky Boots is such a beloved show – full of heart, humour and high heels! What was your first reaction when you found out you’d be joining this new production?
I was so excited to get stuck in to rehearsals for Kinky Boots. I love the story and the message the show tells. However, I was quite apprehensive as the role is huge and it is a marathon of a part.

You play Charlie Price, a character who’s at a real crossroads in life. What have you enjoyed most about stepping into his shoes and what have you found the most challenging?
Charlie is a character who goes on a real journey throughout the show. It’s quite an emotionally demanding part, and that is one of the biggest challenges for me. I enjoy the twists and turns, but having to sing a heartfelt ballad straight after a raging argument with ‘Lola’ is hard. He is also a character who has lived with a lot of ignorance and small mindedness. Representing his views can be quite tricky, especially when the audience get on his back!

The show is such a celebration of self-expression and unexpected friendships. How has working on Kinky Boots impacted you personally or creatively?
One of the show’s most powerful messages is ‘be who you want to be’. You change the world when you change your mind. Being open to learning about people who lead very different lives to you can make yours a lot richer. Working with such an eclectic and diverse group of talent is a very inspiring.

You’ve appeared on screen in Father Brown, and now you’re back on stage in a big musical. How do those experiences compare – and do you have a preference between stage and screen?
The majority of my career has been working in the theatre and I really love the process of putting on a show. Working on screen, you certainly feel part of something bigger, and I have met some wonderful people along the way. I don’t think I have a preference. The variety keeps my life feeling exciting and fresh.

There’s a powerful message in Kinky Boots about finding common ground with people who are very different from you. What do you think audiences today can take away from that?
Moving around the country going from city to city, we have been able to really feel the effect of the show on people. It’s an extremely important message that seems to be more prevalent than ever. Many people are still living lives where they are not made to feel comfortable in their own skins. I believe this show encourages our audience to open their hearts to all sorts of people: similar and different.

REVIEW: White Nights

Published on by nickjkehoeLeave a comment

Rating: 4 out of 5.

“A uniquely varied evening of classical music, with a little something for everyone”

Opening with Weinberg’s Rhapsody on Moladavian Themes is a bold choice but one that fits wonderfully with what is to come, providing us with . The swelling, almost arabesque, runs on strings and wind give way at intervals to the bombastic brass and percussion sections, winding back and forth effortlessly. As always the Liverpool Philharmonic Orchestra perform seamlessly together, a well oiled machine sliding through the movements with ease. This may only be a short piece – not much longer than twelve minutes – but serves as an excellent start to the evening’s entertainment. 

Next comes a suite of pieces by Shostakovich, including the renowned Waltz no.2, which serves to underline the variety of the pieces performed tonight: not only are there distinctions drawn between the different works but also within the pieces themselves – intra-textually, if you will. With various dances, waltzes and a polka, the Suite for a Variety Orchestra is an excellent opportunity for the orchestra to demonstrate their versatility. Conductor Vasily Petrenko is a delight to watch work throughout, but outdoes himself with lively, performative flourishes and a degree of comfort and lightheartedness that truly invites the audience to involve themselves in the music. The varied and irreverent Suite, as with all of tonight’s pieces, lilts back and forth between the sedate, if forceful, dances and waltzes, and the strident, vivacious Polka and Finale and will keep anyone not familiar with the tunes guessing the whole time. 

Lastly is the longest piece of the evening in Tchaikovsky’s Symphony no.4, comprised of four distinct movements. This second half also features the largest selection of instruments of any tonight and you can really tell. There are soft, mellifluous runs, yes – especially throughout the second movement Andantino in modo di canzona – but these are interspersed with walls of sound almost reminiscent of sections from Weinberg earlier. The force of the extra instruments does not go unappreciated however, and results in these sections forming the musical equivalent of a gut-punch: immediately attention-grabbing and astounding. Personally, I find some of these movements can begin to feel somewhat repetitive, featuring similar melodies again and again. When they are so competently performed, however, there is almost a unique joy in the repetition, the minute inflections keeping attention the whole time.

This evening of evening music truly is a unique collection and display of variety in classical music and, as always, a phenomenal display of the Liverpool Philharmonic Orchestra’s capability and competence.

Image Credit: Ean Flanders

REVIEW: The Walrus Has a Right to Adventure

Published on by Jamie O' Toole2 Comments

Rating: 3.5 out of 5.

“An ambitious reflection on human nature.”

What is it about suddenly encountering a majestic wild animal that sets all of our senses alight? Why does time seem to freeze and is perceived by us as a dreamlike, even spiritual, experience? Is it the collision of awe and terror all at once?

Such encounters are rare in the modern world. We no longer rely on passed-down survival rituals or the daily hunt for food and shelter. But could these moments with wild animals help us make sense of our repressed emotions and unmet desires? This is the central question at the heart of The Walrus Has a Right to Adventure, written by Billie Collins and directed by Nathan Crossan-Smith. Told through a series of interwoven vignettes, the play invites its audience to reflect on the value of instinct and intuition.

We follow Oskar, Rio, and Hazel — three people living their lives in different parts of the world. Rio (Tasha Dowd), a young, queer person from Liverpool, is in a loving relationship with the effervescent Lacey but feels an unnamed absence. Oskar (Reginald Edwards), a hardworking Norwegian tour guide, quietly harbors feelings for Ingrid from the ticket office while struggling to pay the costs of his elderly father’s care. Hazel (Princess Khumalo), a reserved young woman living in Colorado Springs, is under pressure from her long-term boyfriend to try conceiving again after a miscarriage. Though their lives are unconnected, each is about to encounter a wild animal — and be irrevocably changed.

The trio of actors is undoubtedly talented, moving fluidly between scenes and characters. Uniquely, the cast not only performs but also creates live soundscapes at the back of the stage, while seamlessly switching roles to portray a range of minor characters across the play’s three settings. They’re constantly active — crafting atmosphere, managing props, and preparing entrances — and while this is impressive, a couple of small slip-ups made me wonder if they were being stretched too thin. The set itself is deceptively simple: three large wooden boxes at the rear double as sound desks and storage. At several points, the play underscores the characters’ shared emotional threads through slow-motion, non-verbal sequences set to music, enhanced by ethereal lighting and falling paper leaves — a recurring motif that, for me, felt slightly at odds with the rest of the production.

We see Rio come face to face with a white stag wreaking havoc in the aisles of Halewood Tesco. Oskar’s sole source of income is jeopardised by a stubborn walrus that refuses to leave his boat. Hazel’s boyfriend is mauled on a hiking trail by a mother bear protecting her cubs. Before and after these surreal encounters, each character wrestles with the cost of suppressing their emotions and instincts. As the play unfolds, they gradually understand themselves more deeply through these wild animal interactions, underscored by the recurring line: ‘You can’t punish instinct.’

The production has plenty of energy, thanks to its combination of live sound-making and dynamic scene changes. The script aims to create a sense of immersion through Rio’s hyper-local Scouse references, Oskar’s deliberate slips into Norwegian and pointed nods to contemporary American culture wars. But these choices often felt a little heavy-handed. I found the Liverpool and U.S. scenes relied too much on familiar stereotypes, which at times distracted from the more heartfelt themes at the play’s core.

The Walrus Has a Right to Adventure attempts to show the importance of reconnecting with one’s true inner nature. The part of you that exists beneath layers of peer pressure, patriarchy, and societal expectation. It’s a show I wish had taken itself more seriously and dug deeper into its themes to deliver something more nuanced and sophisticated.

The Walrus Has a Right to Adventure plays at the Liverpool Everyman until 21st June. Get your tickets here.

REVIEW: A Night at The Musicals

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Rating: 5 out of 5.

“A Dream Saturday Evening for Musical Theatre Lovers”

Liverpool Philharmonic Hall brought glitz and glamour to the stage on Saturday night with A Night at the Musicals. The Royal Liverpool Philharmonic Orchestra delivered a showcase of musical theatre favourites, spanning timeless classics to modern hits. Supported by a cast of seasoned West End performers, the evening overflowed with fun, excitement, and heartfelt emotion – a true celebration of the magic of musicals.

The Orchestra was outstanding. Their energy and charisma filled the hall, creating a rich, cinematic soundscape. They were led by conductor Michael England, who provided insightful narration introducing each performance – did you know the smash-hit musical Hamilton has a connection to Liverpool? These stories brought a lovely personal touch and made the night feel intimate and warm.

The vocal performances were equally exceptional. Laura Tebbutt is a powerhouse and set the tone of the night with her excellent rendition of All That Jazz. Scott Davies brought comedy to his role as King George III and, of course, stole the stage with Music of the Night. Rob Houchen showed his range and charisma in every number, particularly moving the audience with You Will Be Found. Gina Beck, who joined the cast only two days before the performance, was flawless – every one of her numbers a standout, though her performance of My House was a deeply heartfelt highlight.

A true star of the evening was Paul Whittaker OBE, who brought the performance to life through British Sign Language. His joyful and expressive interpreting added an extra layer of richness to the evening, ensuring that the magic of the musicals was accessible to all. His presence reminded us how powerful and inclusive live performance can be.

Liverpool Philharmonic continues to lead the way in making orchestral music inclusive, engaging, and relevant. It’s heartening to see audiences of all generations coming together to enjoy music they love in this beautiful setting. From smiling children to teary-eyed grown-ups, the shared joy was palpable. With Eurovision Classics having enchanted audiences last month, and The Liverpool Songbook just around the corner on 28th June, it’s clear this is a venue deeply committed to celebrating music in all its forms. Long may it continue.

REVIEW: Outer Waves Festival

Published on by Jamie O' TooleLeave a comment

Rating: 4 out of 5.

 “A lively and intriguing space for buoying genre-bending local talent.”

Outer Waves Festival made its debut over the weekend as a new alternative arts festival, promising to “fill a cultural gap in Liverpool’s existing festival landscape.” I’ve often found the term ‘alternative’ a bit vague – but with BBC Radio 1’s Big Weekend happening just around the corner, Outer Waves felt like a haven for locals who like their music a little more underground and left of field. For brevity’s sake, I’ll focus on the performances I caught, highlighting the acts that left the strongest impression.

Outer Space took place at both Invisible Wind Factory and next door in Make, a maker space hub for local artists on the North docks. These two venerable venues proved to be well up to the task of platforming such an ambitious and jam-packed event. Early on Saturday, Nil00 served up some pleasant, lo-fi offerings earlier in the day, the twinkly, electronic pop fused with the catchy, sentimental lyrics befitting the intimacy of the Make stage. I hadn’t paid much attention to Nil00 before this weekend – aside from hearing the occasional snippet used in Instagram reels – but after seeing them live, I’ll be keeping an eye on whatever they do next.


Later on, the electronic dance trio Transmission Towers took the same stage, and from the outset, we were kept fully engaged by lead singer Eleanor Mante’s commanding stage presence. Her distinct vocals reminded me of a ‘Warm Leatherette’-era Grace Jones.The evening’s celebrations continued with Hyperdawn, a Manchester duo who create experimental, transportive soundscapes that make use of looping piano arpeggios and live reel-to-reel tape recorders on stage. I enjoyed watching their process on stage and seeing the pair completely immersed and focused on meticulously building the levels of each section. Gravitating from piano to feeding the tape recorder, to loop station, and back, it was hard not to be impressed by their ability to create such a uniquely hypnotic sound.


Saturday night was then headlined by the unmissable Ex-Easter Island Head, a Liverpool-based percussion ensemble that last year released their critically acclaimed album, Norther, and drew a sizeable crowd of swaying attendees with their bold and dreamy instrumentals. During the track, ‘Magnetic Language,’ the musicians recorded live vocals which were then sampled through one of the guitar pickups, producing sounds that felt deeply human but made unfamiliar by the layering of multiple, simultaneous rhythms. Their performance captured the essence of experimental music – pure intention led by instinct, free from ego. This, for me, was the best set of the festival. 


Sunday brought new swathes of talent to sample, and in between dodging rain droplets and indulging in incredible food from Pierogi and Pickles, I gravitated to some enjoyable performances by European Taxis, Ex Agent, and Silverwingkiller. Of those, Silverwingkiller was the standout; a duo of punky, chanting ravers conducting thoroughly enjoyable chaos behind beefy synths and relentless breakbeats. 


The evening wore on, and with it brought Mandy, Indiana as well as cosmic rocker headliners, Gong. When it comes to Gong, the current iteration of the longstanding psychedelic group from the 70s, it felt as though something was missing. The performance itself was perfectly acceptable, perhaps a little stilted and stale. For me, they lacked the conviction and energy of the festival’s previous acts, and coming on after the powerhouses that are Mandy, Indiana only emphasised this.


As the weekend drew to a close, I was left reflecting on how vital festivals like Outer Waves are. Liverpool’s once-thriving grassroots scene of gigs, art shows, and club nights has been hollowed out by rising rents and redevelopment. That’s why Outer Waves feels so significant: it doesn’t just offer an alternative to the mainstream, it champions a scene that’s fighting to survive.

REVIEW: North by Northwest

Published on by rosagatleyLeave a comment

Rating: 4 out of 5.

A visually inventive experience that pays homage to Hitchcock’s original work whilst carving its own unique identity

Alfred Hitchcock’s 1959 cinematic masterpiece North by Northwest is no easy feat to adapt for stage. Known for its sharp dialogue, iconic set-pieces, and inimitable shots, it demands ingenuity and confidence to reimagine it in a theatre. Yet this production at the Everyman and Playhouse, directed by Emma Rice, rises admirably to the challenge, leaning into theatricality, playfulness, and a warm dash of camp to deliver an entertaining, tightly choreographed homage. 

From the outset, the stage design captivates with a long row of suitcases and suits, ingeniously utilised throughout the play to demonstrate the places and people we meet along the journey. Elegant wooden structures resembling revolving doors are adorned with bottles of various coloured elixirs and martini glasses, evoking the ambiance of a vintage bar. At centre stage, a spotlighted suitcase emblazoned with “North by Northwest” sets the tone, while the subtle use of a smoke machine immerses the audience in a nostalgic atmosphere. 

The performance opens with a choreographed sequence featuring six dancing spies, establishing a central motif that recurs throughout the production. This lively introduction immediately engages the audience, signaling the show’s playful and dynamic approach. 

Serving as both guide and performer, Katy Owen shines in the role of the Proffesor. Her engaging presence and witty commentary, including the apt warning, “You’re going to have to be on the ball if you want to keep up with this roller-coaster,” effectively bridge the audience and the unfolding narrative. Owen’s ability to break the fourth wall invites viewers into the play’s campy and theatrical world, enhancing the overall experience. 

Ewan Wardrop delivers a compelling performance as Roger Thornhill, capturing the essence of the character without resorting to mimicry of Cary Grant’s iconic portrayal. His interpretation brings a fresh perspective, grounding the production with a consistent and relatable presence. While Wardrop focuses solely on Thornhill, the rest of the ensemble, including Mirabelle Gremaud (Anna), Patrycja Kujawska (Eva Kendall), Simon Oskarsson (Valerian), and Karl Queensborough (Philip Vandamm), adeptly navigate multiple roles, showcasing their versatility and contributing to the play’s dynamic energy. 

Simon Oskarsson’s performance as Valerian is particularly striking for its physicality and flair. He shines brightest in his expressive dance and lip-syncing sequences, which add both a flamboyance and depth to the character. These moments burst with charisma and polish, showcasing his control over gesture and rhythm in a way that feels both deliberate and effortlessly entertaining. That said, in scenes shared with Mirabelle Gremaud’s Anna the connection at times falters. Whether due to slight timing issues or a lack of emotional tension, there are instances where their onstage chemistry feels just out of step, lacking the spark or unity needed to make their dynamic fully convincing as the duo they are meant to be. 

The true star of the production is the innovative set design by Rob Howell. The creative use of props, especially the versatile broadsheet newspaper, demonstrates the production’s ingenuity in transforming simple items into multifaceted elements of storytelling. This imaginative approach underscores the play’s commitment to theatricality over cinematic replication.

While the conclusion feels somewhat half baked, it does not detract from the overall enjoyment of the performance. The adaptation embraces the strengths of live theatre, offering a fast-paced, humorous, and visually inventive experience that pays homage to Hitchcock’s original work while carving its own unique identity. 

You can catch this production of North by Northwest on its current tour at:

Liverpool Playhouse between 20th – 24th May 

Theatre Royal Bath between 27th – 31st May 

Everyman Theatre – Cheltenham between 3rd – 7th June 

Alexandra Palace Theatre between 11th – 22nd June

FEATURE: OUTER WAVES, Liverpool

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OUTER WAVES is a new alternative arts festival designed to fill a cultural gap in Liverpool’s existing festival landscape. 

Inspired by the city’s rich underground music and art history, our aim is to celebrate and strengthen Liverpool’s grassroots creative communities while inviting international artists and audiences to participate.  By blending live music, visual arts, interactive performances, and educational initiatives, OUTER WAVES will not only provide an unforgettable festival experience but will also foster long-term cultural and community development. 

Debuting at Make Liverpool & Invisible Wind Factory, Outer Waves will transform Liverpool’s iconic North Docks into a two-day celebration of alternative music and experimental arts showcasing cutting-edge performances and innovative collaborations, offering audiences an immersive experience unlike anything in the city.

Line up so far:

ABSTRACT CONCRETE, AJA IRELAND, ALGERNON CORNELIUS, COUGHIN VICARS, EUROPEAN TAXIS, EX-EASTER ISLAND HEAD, FAT CONCUBINE, GONG, HYPERDAWN, LIMINAL PROJECT, MANDY, INDIANA, NIL00, SILVERWINGKILLER, SLY & THE FAMILY DRONE, SMOTE, THOSE HOLY and THRAA

OUTER WAVES runs 24th and 25th May. Tickets are available here.

Image Credit: James Glossop

REVIEW: Simon Boccanegra

Published on by Heather DoquiatanLeave a comment

Rating: 4.5 out of 5.

‘While each individual voice was a joy to listen to, it’s in full voice that this opera truly shines’

I’ll be honest: many people know more about opera than I do. I’m very familiar with Puccini’s one act comic opera Gianni Schicchi, but that’s about the sum of my operatic experience. With this in mind, I was looking forward to Opera North’s take on Verdi’s Simon Boccanegra – a concert staging as opposed to a full production, I thought it would be a good foray into the operatic world.

Performed in Liverpool’s Philharmonic on a swelteringly hot May afternoon, the set for Simon Boccanegra was cool and spare – two of its three ‘rooms’ contained marbled benches and plinths, with the third housing a bed shrouded in white gauze. The whole thing felt evocative of a mausoleum, which it turns out was apt – the body in the bed was revealed to be Maria, erstwhile lover of our titular Simon (played by Roland Wood, with a masterful command over voice and expressions alike), and now dead.

Apparently this opera has by popular opinion a complicated and rather far-fetched plot, the knowledge of which made me feel better as I tried to keep all threads and developments straight throughout. To briefly summarise: Simon Boccanegra (a Plebian) is named Doge (head of state) of Genoa, and has fathered a child with the daughter of his sworn enemy, Jacopo Fiesco (a Patrician). Twenty-five years later, the child has grown up and is in Fiesco’s care, though he has no idea that she is his granddaughter. The young woman, now named Amelia Grimaldi, is herself in love with a Patrician, Gabriele Adorno. There’s a deeply unsettling ‘rival’ for her love in Paolo, once loyal to Simon and latterly a despicable character, and it is his actions that ultimately bring about the deeply sad climax of the opera. At its heart, while this is of course about love – it’s hard to conceive of any great story that isn’t – it’s really about politics, in this case exemplified by the Plebians vs the Patricians: the workers vs nobility is truly a tale which can stand the test of time.

The orchestra was nestled directly behind the set and cast, which gave an intimate feel to the performance – having both good sight and sound of the orchestra allowed for extra punch and depth of feeling. The audience also had a clear view of the singers’ faces, which in turn allowed for a level of sincerity that wasn’t overblown – this is true of all of the cast, but again particular mention must go to Roland Wood as Simon, who was able to convey years’ worth of emotion in mere moments.

Sara Cortolezzis gave an innocent youthfulness to Amelia Grimaldi (or was it Maria? Hmmm…), always hoping that various kinds of love can conquer all. Her lover, Gabriele Adorno (as performed by tenor Andrés Presno), was rather more one-note a character, but had a pleasingly strong and clear voice, a much-needed contrast to the richness of the baritones and basses. The chorus was used offstage to great effect: haunting voices drift through as though on the wind, with our cast seemingly confused and afraid as to where they are coming from. The voices of the angry mob came in turn from various points from different directions within the hall, sometimes sidestage and sometimes behind us, giving a still more immersive feel to the production.

While each individual voice was a joy to listen to, it’s in full voice that this opera truly shines, and the Philharmonic was just the building to house such a glorious climax of voices and instruments, allowing the sound to rise uncurtailed to ring throughout the venue. My biggest complaint is that there wasn’t a little more of this, though there’s an argument to be made that less sparing use might detract from its magical effect. 

Opera North’s Simon Boccanegra is showing in Hull on May 17th, and in London on May 24th.