It’s about the wiliness of a five-year-old and the mess of political and geographical possibilities in the interstices of the Cape Flats and what can happen in the blink of an eye to a child who recognises an ostensibly friendly grown-up’s hand, without analysing it or colouring it in fear.
It is soprano Lise Davidsen in the double-sided role of Fidelio and Leonore, that holds the moment with such acuity, you cannot take your eyes off her. Her presence raises this opera to a paean of hope in the face of injustice, and absolute excellence in the face of mediocrity.
‘Nye’ is about parliamentary fights and the helplessness of being on call at a parent’s deathbed. It offers one of the deepest understandings of a death scene you may experience on a live stage, and interpretations of iconic figures such as Bevan, Churchill and Chamberlain to knock your socks off.
The Motive and the Cue is as much about the hierarchy and debauched embarrassing nature of theatremakers, who feed off one another’s intimacies as it is about the greatness they can produce when under the spotlight and in the spell of the work itself. Beautifully staged, it is a treat.
This is opera at its best … prepare yourself for a total treat, for the ears, eyes and soul. It will replenish you, even if you are not familiar with the work, or the medium of opera.
WHAT IS IT about Chekhov that makes us relate so beautifully to his characters that we can be unbridled in our laughter, cringes and agony of recognition at their psychological turmoil and suffocating family closeness? Director Sam Yates and writer Simon Stephens have cooked up a fresh and […]
WHAT IS IT to be a man in this world of crippling hyper-sensitivity and wokeness? The metaphors central to a sport which has traditionally defined all the values of male hegemony are front and central and joyfully politically incorrect in James Graham’s new play, Dear England, based as […]
That feeling when you get into a warm bath after a difficult day, and you know everything will be alright is the kind of sensation you get in the remote audience of Puccini’s timeless classic Madama Butterfly. It’s not just about music that you will recognise from countless […]
IF YOU SLIGHTLY close your eyes through all the frippery and flappery of the first act of Puccini’s La Rondine, you might believe yourself to have been magically transported into an Aubrey Beardsley painting, with all its Art Deco glissandos and arches, gold leaf and quirky feathery headdresses. […]
WHAT WOULD YOU do if you visited your childhood home, and your parents, as young as they were when you were a small child, opened the door, and recognised you immediately? Only, you’re still you in the here and now and have lived, aged and erred, for some […]
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