Black Rider: The Casting of the Magic Bullets, Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017
"Black Rider: The Casting of the Magic Bullets", Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and it is more of a stream of consciousness.
"Black Rider: The Casting of the Magic Bullets", Malthouse Theatre and Victorian Opera for the Melbourne Festival, Merlyn Theatre, Sunday October 8th 2017
The Victorian Opera Education Resource pack is superb. Sadly this information is not available in the programme on sale. Thank you for this fantastic resource.
Direction by Matthew Lutton was sublime with the clarity of storytelling, entertainment and sense of purpose. This holistic production used a variety of genres such as vaudeville, puppetry, cabaret, and wind up dolls. The first entrance by Pegleg played by Meow Meow dragging her right leg set the tone of the show. The entrance of the other characters via different hatches, holes and doorways created a sense of a machine or a Pin Ball Machine. This was not going to be a game. Nor was it to be a circus. This was to be about cause and consequences of actions.
Lighting Design by Paul Jackson was sublime to create a sense of atmosphere, wonder and suspense when required. Paul Jackson works as part of team to produce sensationally focused work.
Set and Costume Designs by Zoe Atkinson were brilliantly realised and reminded me of a side-show attraction from "Carnivale" with a hint of a model theatre, or even a marionette theatre with the manipulation of the devil, Pegleg. Various drapes or backcloths would be introduced via pulleys or rolled over the rear wall. Some of the flying curtains entered via small holes and pulley systems for the "Briar and the rose" sequence. One curtain appeared stuck on stage right, and I adored how we were tricked as it was intentional and retrieved back through its hole. Another was also retrieved. Zoe Atkinson produces ingenious designs and brilliant realisation through execution.
Various small doors would open to become animal game targets - pigeons, deer, etc. This was like a Pin Ball Machine or a carnival's side show attraction. Each of the side walls had murals of deer and a boar. I was in awe that these became shooting targets. This set reminded me of the set used in "Assassin" the musical, and I would love this same set used in a production of this musical as it was so versatile.
The ladder revealed via a large doorway on stage left was another surprise. The slap dash style of the walls made it intriguing to determine if there were any more surprises up the designer's sleeves. There were - they did not stop until the end.
The double doors were used to reveal a Man on a Stag played by the countertenor Paul Capsis. Later he would become Georg Schmid as if a puppet. The set design was superb and the flat rotating arms and legs reminded me of my clown puppet that I received as child in the 1960s. In fact it was haunting as the colour scheme was the same for my clown and this part of the set. Paul Capsis is Paul Capsis is Paul Capsis! (He is a rose is a rose by another name!)
The choreography by Stephanie Lake mainly worked. There was one sequence of jubilation that was a choreographic mess as it was unpolished and could have mimicked many standard vaudevillian dance routines from many old movies. The choreography was blurred, not by poor execution by lack of definition: their feet were doing the standard vaudeville ball change and extend to second, while the arms and bodies were messy. Sadly this was the only dance sequence by the group that was not up to the standard of the other choreography.
Pegleg played by Meow Meow was sensational as she captured the burlesque, vaudeville and Brechtian theatre styles. Her mannerisms and gait were hauntingly evil. Meow Meow's acting and singing was sensational.
Bertram, the Forester was played reliably and solidly by Richard Piper. Anne, his Wife was played brilliantly by Jacqueline Dark. At times Jacqueline Dark could be from a Wagnerian opera and other times from Hansel and Gretel. Always, Jacqueline Dark played the Wife with honesty and not a hint of ham.
Kanen Breen played Wilhelm, a Clerk. Words fail me as sublime, sensational and brilliant seem so over-used. His tone, diction and pitch were enviable. Kanen Breen was sublime in his portrayal of Wilhelm selling his soul and becoming addictive. Kanen Breen as Wilhelm was a once in a lifetime experience.
Kathchen, the daughter was played admirably by Dimity Shepherd. Her moves were of a mechanical and usually consistent until her final exit, as not in keeping with her earlier stylised moves. Dimity Shepherd's singing was beautifully rich in tone and emotion.
Robert the hunter and preferred suitor to Kathchen was played by Winston Hillyer with his rich tenor voice. Winston Hillyer played the arrogant and self absorbed hunter, showing disdain for Wilhelm in a confident and assured way. Again, his rich was his tone.
The dual role of The Duke and the Old Uncle was played with exotically bass richness of tone by Le Gateau Chocolat. Oh my word! What a voice! What presence! My deceased singing teacher was a bass and would be having kittens at this mad's voice! Good bass male voices are so rare. "Hot diggidy dog" for Le Gateau Chocolat!
I have not heard an entire cast of a show with such fantastic voices for a long time. Plus they had such a range of interesting and captivating voices that suited this piece with its playfulness and its dark message.
I would love to have attended a post show tour of the set to understand how some of the mechanisms worked. Some of the mechanics were obvious,while others intrigued me.
As a result of this show, we have subscribed to Victorian Opera for 2018.
Please preserve Matthew Lutton's talent for eternity!
"Black Rider: The Casting of the Magic Bullets" obtained an 8.5/10.
No comments:
Post a Comment