Whilst the Bristol Beacon might not be open as of yet, the London Symphony Orchestra is getting some time in the nearby Bath at their Forum. This Art Deco wonder was the perfect space for their event with singer/conductor Barbara Hannigan in a concert of Messiaen and Mahler.
In Messiaen ‘L’ascension’ we get glimpses of heaven, the brass woodwind and strings getting solos for the most part just for them. Early Messiaen is full of such promise. Stravinsky is there as an influence and you can hear the original voice soon to be blasted out, very French.
The agonising last movement remains a highlight, the strings on their own plain. My plus one said there was no reference points for him, thus proving how out their Messiaen really is, even in his early days. Dense chords and the soon to be vital birdsong features and his Catholic faith is superimposed into all of his canon. Truly impressive.
Mahler’s 4th Symphony might not be my favourite of his, yet the LSO offered a really stellar offering. I don’t quite know about Hannigan’s conducting, a singer by trade she at times appears stiff and unanimated. She appears to be doing a bang up job with the orchestra as the symphony was a triumph, the jingle bells, Austrian angst and saddened irony was everywhere here.
An hour in length, this meaty work sits between even larger Mahler symphonies and I feel this one sometimes gets over looked. Hannigan couldn’t offer us her USP for the night, where she both sings and conducts simultaneously, due to illness. Though a shame, the ‘child in heaven’ solo for the finale was taken by Greek wonder Aphrodite Patoulidou wrapping up with the touching, joyful thrill that mirrors Mahler’s own grief. I was rightfully won over by this Mahler.
With its contending forces of good and evil, Mozart’s sardonic fairy-tale The Magic Flute, has more than a hint of the pantomimic. To use the words of the vernacular, Daisy Evans new production for the Welsh national Opera, sung in English with Welsh sub-title, sure does that in spades. Opera afficionados used to the more traditional – as in WNO’s much loved version last staged in 2005 – need to take a breath and prepare.
Mozart’s ‘Flute,’ first performed in Vienna in 1781, is reset by Evans into today’s world, with more than a hint of Star Wars, laser beams, fluorescent multi coloured lights et al. Not always easy to follow if you neglected to read the excellent programme notes. The connecting link which runs throughout is Schikanender’s libretto telling the story of the quest of Tamino, a Prince who sets out to find and rescue Pamina, daughter of the Queen of the Night. Pamina has been kidnapped by the villainous Monostatos by order of Sarastro, head of a mystic cult. Encouraged by ladies of court, Tamino is helped by the magic flute and Papageno, the bird catcher who lives in a hut in the woods and whose idea of heaven is hearth and home with the girl of his dreams. The story, with its mix of wonderful music, soaring arias, lovers’ tiffs and misunderstandings, set against a background of birdsong and mysticism, strongly references the fight between good and evil, the power of womanhood, all being brought to the fore by Evans, who has added and subtracted spoken passages in a translation that allows at times for a contemporary use of words that does not always sit well.
And thereby lies the rub, for in her endeavour to give the fairy-tale that is The Magic Flute a modern twist, Evans goes overboard. Mozart’s light-hearted touch is lost at times amidst a welter of light beams, however skilfully used and puppetry, however effectively used. Under the direction of puppeteer Matthew Forbes flocks of birds flutter intermittently around Papageno’s head. Used throughout, this is a clever idea (although it might have been preferable to dress those manipulating the strings in black) but a tad over used – it is possible to have too much of a good thing.
Nevertheless, consisting as this opera does of some of the composer’s most memorable arias and lyrical duets, this production does still keeps much of the romance, comedy and mysticism of the original. Thanks being due in no small measure to the expertise of the orchestra of the Welsh National Opera under the baton of Freddie Brown and the admirable chorus. The latter, despite being attired in headgear similar to that of a beekeeper in the second half, is as always in fine fettle, although under used in this production. At Saturday night’s (March 11th) performance, British-born soprano April Koyejo-Audiger made her WNO debut with a pleasing soprano and good sense of timing opposite South African singer Thando Mjandana, whose melodic tenor stands him in good stead in the lyrical duets with Koyejo-Audiger. Neal Davies is a quirky Papageno who combines comedy with sympathy both for being put-upon and for his unwanted single existence.
Audiences familiar with this opera are known to wait with baited breath for the high-octave reach called for by the Queen of the Night. Lyric-dramatic coloratura Julia Sitkovetsky does not disappoint with a soaring performance in high-octave and extremely difficult solos which even the most accomplished of singers can struggle to reach. Carmarthenshire-born Alun Rhys-Jenkins, whose specialises in tenor character roles, plays the supposedly frightening Monostatos for laughs more than terror, with a touch of the game show host at times in the role of sidekick to a far from sinister Sarastro sung by a bewigged Jonathan Lemalu with more than a touch of the Georgian gentleman.
A minimal and modernistic set is the background to an innovative and clever production. Whether or not this is a welcome addition to the multiple performances world-wide of one of Mozart’s most popular operas remains to be seen.
Snap: Less is sometimes more!
Runs until March 17th in Cardiff, then touring.
Tags: Alun Rhys-Jenkins, April Koyejo-Audiger,Cardiff, Daisy Evans, Emanuel Schikaneder, Freddie Brown, Jonathan Lemalu, Julia Sitkovetsky, Loren Elstein, Matthew Forbes, Neal Davies, Thando Mjandana, The Magic Flute, Wales Millennium Centre, Welsh National Opera, Wolfgang Amadeus Mozart,
This show had a highly regarded reputation and an amazing preconception, so I had high expectations going into it.
Let me set the scene. When you enter the sold-out performance space, it’s with excitement and anticipation in the air. There are smells, and alternative pop music being played. A bus stop is in the middle of the stage, with about nine black poles dotted around it, and an electronic screen in the middle of the bus stop displaying places in Swansea and times. The screen showed drug terms and definitions before the play started, such as “chasing,” “methadone,” “tick,” “weighing and bagging,” “chasing the dragon,” and “sorter” (which I hadn’t realized until now was a drug term; it means using a drug as payment for work instead of money). This was cleverly used for setting the scene, and these were the terms the performers used in the piece. If you remembered what some of these terms meant, you could understand it when they used them in the piece. The electronic screen was also used to show captions during the performance, as Friday night’s show was one of the captioned performances.
There was an orange light from the left corner, a purple light from the right, and a blue and a green from respective sides of the bus stop before the performance started. The performers used colour so cleverly during the piece, and they had multiple magnetic lights that they would take at different points and put them on the poles to set the scene for what they were describing, as the set was minimalistic. For example, for one scene when Richard Mylan is describing “memory 3,” with a guy named Ernie and a gas fire that he, when he was younger, was getting warmth from, they took a light to that pole, and the light was a warm orangey glow like a fire, to help emphasise the scene for the audience. There were also lights behind the bus stop. An excellent example of the riveting nature of the piece is the use of seagull noises in the background, such as when Sophie Melville’s character gets a view of Mumbles. At another point, there was an electric spark and a heartbeat that kept getting faster. There are many ways in which they use lighting and sound cleverly to envelop the audience into the story.
It is very fast paced, as Richard Mylan will tell his story, and then Sophie Melville will continue with hers, and it goes back and forth throughout, so you have to try and remember what happened in each story. “Sorter” was about a nurse who got addicted to morphine, and he was a high-functioning drug addict, which is based on Richard Mylan’s (writer and actor) life. Sophie Melville played a character who was addicted to drugs, and her boyfriend was also her drug dealer. “Sorter” was an astonishing and impressive piece. It was immersive, with moments of laughter amidst the darkness, and you really felt sympathy for the characters.
It made you think retrospectively about how harshly you judge homeless people or people addicted to drugs, when many factors go into becoming addicted to something. As Sophie Melville’s character says in the piece, “they are almost impossible to get off” [paraphrased], and a lot of factors go into becoming homeless. Who are we to judge these people when they don’t get the help they need? It was eye-opening and shocking but a must-see. You had to see it in the Grand Arts Wing because you had to be in thrust and a small stage to feel close to the characters, feel sympathy for them, and understand them. Also, there were lots of references to places in Swansea, one being when Jess, Sophie Melville’s character, climbs up on the ladder behind the bus stop and talks about how “people like her don’t deserve to have such a breath-taking view of the Mumbles and Swansea, living in Mayhill” [paraphrased].
Richard Mylan and Sophie Melville are exceptional and tell the story so well that you wish you hadn’t missed it.
Cassa Pancho is the founder & Artistic Director of Ballet Black. Upon her graduation in 2001, she gained a degree in classical ballet where her journey to found Ballet Black began, produced with the aim to provide role models for young, aspiring black and Asian dancers to feel empowered irrespective of the discrimination black ballerinas continue to experience worldwide.
Pioneers by Black Ballet, Co-commissioned & performed at the Barbican Centre is a time travelling storytelling, adventure of dance, poetry, jazz, music, passion, magic and aspiration. Featuring nine breath-taking dancers named: Jose Alves, Sayaka Ichikawa, Isabela Coracy,Mthuthuzeli November, Ebony Thomas, Alexander Fadayiro, Helga Paris-Morales, Taraja Hudson and Rosanna Lindsey.
William Tuckett, choreographer of the first section of the ‘Then Or Now, takes the audience Into an adventure of love, war, connection and human experiences. The work features poetry by Adrienne Rich (1929-2012), directed by Fiona L Bennett, with poetry recordings from Hafsah Bashir, Natasha Gordon & Michael Shaeffer. The costume designer was by Yukiko Tsukamoto. The concept of using poems was distinctive, meaningful and enchanting. The themes explored were attachment, love, hope and the journey of humanity. During this set, we symbolically see character building, the symbolic passing objects to reflect connection and warmth in an abstract way and expressed through grandiose ballet movements of fluidity, subtle gestures, soft lifts and poetical turns.
The second half features Mthuthuzeli November’s Nina: By Whatever Means. This work embarks on storytelling the life journey of Nina Simone. Each dance piece demonstrates Nina’s zest for life, her influential messages, her spiritual nature and sound – risen from her powerful statements in the past such as; ‘An artist’s duty, as far as I’m concerned, is to reflect the times‘. During the beautiful melodic set of her track ‘Sinnerman’ we are exposed to how Nina worked all her life to become a black classical pianist, growing into a beautiful woman with ambition, life and depth. It was evident whilst watching that the aim of retelling Nina Simone was not to play her greatest hits but to show her fight for success, passion and reflect how she set herself for us the right way to be artists.
It was magnifying to re-live Nina Simone showcasing her talent live in this piece of work, especially due to the impact that was well portrayed choreographically, as it foretold the feel her music had, her breath and attitude, as well as her struggles, battles and turmoil she faced, where the rest of the dancers became her inner demons, as well as her inner powers, which was moving to see.
Starting off with Baby Nina, the aim is clear that her story is to be told choreographically and not show the legacy of her life musically. Telling her story & her life journey from being young and innocent, unexpecting of non-stop worldly attacks for becoming a conscious black musician and soulful artist for humanity. The theme being loss and power, due to how black lives are forced to lose their innocence but restored again by finding and fighting back with power.
The Ballerina ‘Isabela Coracy’ who played Nina Simone quoted ‘Every night is an investigation to play Nina simone to know who she truly was, there are loads of ballets to learn and therefore, she is still discovering how to capture the details of Nina Simone through dance to reflect her sense of power correctly, especially when listening to her song ‘Sinnerman’ what it represents and the incredible burning love she had for humanity.
Ballet Black is a safe space that evidently reopens eyes to know what it means to be an artist and acknowledge non-discrimination as a top principal, where you can think about being an artist to embark on the notion that aims to continue to normalise freedom, diversity, empowerment and love within society.
NINA: By Whatever Means: Co-commissioned by the Barbican. Choreography: Mthuthuzeli November Lighting: David Plater Costume design: Jessica Cabassa Composers: Mandisi Dyantyis, Mthuthuzeli November & Nina Simone (1954-2002) Featuring the voices of the Zolani Youth Choir
Rodgers & Hammerstein, basedon Margaret Landon’s book Anna and the King
Howard Panter for Trafalgar Theater Productions
(4.5 / 5)
“How will I know when I know everything?” “When you are King!”
This faithful production of The King and I portrays the unexpected love story between the King of Siam and a schoolteacher really well. It also draws out a series of dilemmas thrown up by a remarkable passage in history, not least the problem of how one inherits omniscience!
At its heart it is the story of two people, the King and Anna, but like much of Rodgers and Hammerstein’s work, the apparently light musical romance is rooted in political change.
For generations, each king of Siam had ultimate power within his protectorate, but the current king is now struggling to reconcile ancient rights with modern progress and the pernicious influence of western colonialism. The king is seen as barbaric, even though the show is set at the same time as the American Civil War, and only shortly after the Indian Mutiny.
In fact this king is an educated, intelligent man trying hard to balance his autocratic power with a more considerate, conscience-driven approach.
Opposite him is Anna, an intrepid, forthright widow employed as a teacher to the king’s children – all 67 of them. She arrives in Bangkok accompanied only by her young son, having never lived outside the British Empire. The culture shock in itself would be extreme.
While others say what they think the king wants to hear, Anna speaks her mind, becoming a “difficult woman” in the process. Her arrival throws up a number of clashes of culture, attitude and morality, some of which become humorous. Why did Western, Victorian women wear dresses with hoops ten feet wide? I have no idea. It is slightly ironic that I viewed this production on International Women’s Day, which seeks to raise the status of women worldwide today. Anna repeatedly asserts her right to be treated with dignity and equality, yet the king sees the role of a woman as merely to serve a man.
There is therefore much to take from this story. Helen George and Darren Lee are excellent as the leads and are ably-supported by the cast, in particular the children. The score has a number of well-loved tunes, and Marienella Phillips showed her operatic voice to good effect as Tuptim, the chief narrator, a slave girl with an education and attitude. The choice of Uncle Tom’ Cabin as a showpiece play for western visitors is a definite dig by R & H at US society.
But there is a problem with this show in the present age: what was vital, bold and brilliant in 1951 lacks the intensity and grittiness that has become today’s standard. It has become a period piece. Some of the songs are very much of their time, and rather twee.
But this criticism nonetheless admits the show’s classic status; it’s a rattling good story. The score may seem dated to some, but others will recognise their enduring appeal. The audience, of course, lapped it up from curtain-up and offered a sincere ovation at the end. For all its age and increasing creakiness, no one can deny its star quality.
Have you ever thought of how hetero-normative nature documentaries are. No? Bi-Curious George has, and they are here to shake the natural world.
This is a Drag King, Cabaret show like no other. Comedic, yet informative, this is a live, stage documentary with song, dance, comedy and a whole heap of camp. Think of a Queer David Attenborough meets Steve Irwin. Then triple it and add some comedy and sparkle.
George is a natural on stage. A performance of sheer perfection, we all felt as if we were their friend, as they interacted with us one by one, whether that is by audience interaction or just general eye contact. There are a many people in a room but we are all welcomed. They also made sure that everyone was comfortable – usually audience interaction is something forced upon participants, but George begins by ensuring we are comfortable at the door and then early on, giving us a signal just in case. This is a safe room and that is brilliant to impose upon within a production without taking away its essence or interrupting the discourse.
George brings us a range of factual stories of real animals, real queer relationships, intercourse, courtship and unions. But this is enhanced with songs that have been changed to fit queer narratives, with effective and, in themselves, comedic costumes and guests. The guests themselves are excellent – a singing shrimp, a almost mute magician making balloon animals from plastic bags (trust me when I say, it is something to behold, as this act was of pure genius) which add different levels and elements to the overall production, adding in the cabaret element, with George as our compere.
Queer Planet is probably one of the most genius ideas for a production I have ever seen. It is so excellently executed, with perfection as a performance, informative as a piece of education, yet at the same time, creating a easy safe and welcoming space for all with comedy, pizzazz and genius yet ridiculous concepts and costumes.
I think most people have heard of the famous Emperor of Caligula; a fierce ruler, with many a famous story about him, like any infamous Roman Emperor. Roman tales are rarely of happy exploits and kindness. And this has not stopped here.
Caligula and the Sea is a growing of age tale of Caligula, from boyhood to ruling an empire. With this, growing through adolescence and adulthood, through turbulent relationships with the God of the sea and his closest companion and how easily power can destroy those innocent relationships.
The production itself has taken an interesting approach; dressed in 1920 – 1940’s garb, there are still elements of ancient Rome, with miniature columns in the garden to Roman armour, it brings a modernity to the story, yet harking back to its roots. However, it did seem a little out of place and there wasn’t much to tie this together with the overall production or story.
The scene they created, with the overbearing blue sheet representing the sea, using this for movement and puppetry was well done and it added to the imposition that Neptune has in the narrative. It was a centre piece to the production, always looming and always above Caligula. It was in itself a visual metaphor to his downfall after thinking he was more than of the immortal power.
Neptune was represented as the waves, as a warrior, as a woman, as puppetry creatures, and this was interesting and mesmerising in the work that went into the different physicality and puppetry skills. It added to the concept of Gods being able to shape shift upon the Earth, yet they were also never frightening. The was something trustworthy, echoing Caligula’s relationship with the God.
The main performers of Caligula and Chaerea had a natural magnetism to one another; bouncing off each other as friends, as brothers, as lovers. In the blink of an eye we see their entire relationship as it evolves and the moments that it goes all too wrong. The heartbreak and turmoil – it becomes evident in Chaerea’s performance and you want only to reach out and support him.
Caligula and the Sea is a unique telling of the story of Caligula’s life and has many theatrical elements to enhance this summary of his rise and fall. It only felt a slight disconnect in the over all aesthetic and felt it would either benefit from completely immersing in one era or the other.
Based in the USA, Someone of Significance features the story of two people who fall in love against the obstacles of life, careers, of each other. The two couldn’t be more different and were it not for a chance encounter, Rosie, a black, left, working class woman and Brad, a white, CEO of a property corporation, would never have met. They have similarities, they have differences, but over a lifetime, their love continues.
For a two person play, the production values are minimal, and this is all that is needed. Props and staging that is changed upon the stage and in front of our eyes, while under the guise of a dimmed light, help to set the scene. Often based in rooms alone, this adds to the secrecy of their union and career, with its limited furniture and lack of distractions.
Each performer has their own corner with a range of clothing and accessories which they change into intermittently for each scene. Unless it is a drastic change, this often seemed unnecessary to the scene and often overlooked. When they changed something to showcase the passage of time, this is obvious and helps to bring the idea of time to the story line. Sometimes, it only felt like a reason for a break during the production, which could have been utilised differently.
The performers themselves were very good. With clear skill and a good approach to naturalism, they were convincing enough as their two characters. They interacted well and bounced off one another but I found it hard to feel this budding love that they were meant to share. Perhaps it was their limitation of stage and direction; often they stood in the same place, facing the audience but there was little movement around the stage to give levels and something with more action. Yes, there was the occasional sitting or a moment when Brad is involved in yoga, but it often felt as if there were invisible X marks the spot for each scene, and it was always the same spot.
Someone of Significance has a great narrative and intention, with good performers who understood their assignment. But it missed something special to believe in the true connection of these characters and left the performers at the will of direction, creating a limitation on the movement on stage.
Hi Julia, great to meet you.You have a background in music and education, can you give our readers some background information on your career to date?
Straight out of Music College (RCM) I worked principally in the world of orchestral bassoon playing, freelancing with the BBC Symphony, BBC Scottish and also specialising as a baroque and classical bassoonist. I performed, recorded and toured internationally with ensembles such as The Academy of Ancient Music and the Orchestra of the Age of Enlightenment. Alongside playing, I’ve been composing since I was a child. I write wide ranging music from orchestral to solo instrumental works, from opera to songs for children. I loved my own childhood music experiences and have been teaching music since I was a teenager. Creating Kodaly and Dalcroze inspired learning flows for groups of children is a particular passion. I enjoyed wonderful years as Head of Primary Music at Llandaff Cathedral School before moving to the RWCMD firstly for an M.Mus in Composition and then as a tutor for baroque bassoon and early years pedagogy.
So, what got you interested in the arts?
I had an inspirational class music teacher in my Primary School years. She introduced us to recorders, singing, tuned and untuned percussion. I remember enjoying the lessons and putting on fun concerts and productions. My parents were also very supportive in organising piano and ballet lessons and making sure we did our music practice.
What importance does music have in your life and how have you combined the two areas of music and education in your professional career?
Music gives me great joy as a performer, composer, worshipper, listener and educator. From the synergy of being in a high functioning orchestral wind section to the joy of engaging babies and toddlers in perfectly age-appropriate songs and games – the ability of music to open doors into the transcendent is extraordinary.
Music education has interweaved with performing and composing right across my career, often intermingling. It feels rather like cooking to me. You have a room of “ingredients” people/instruments/voices/music and you work deftly with what you’ve got to create a delicious meal that everyone enjoys. It’s about creating the optimum environment to bring out the best in each person’s unique flavour.
“Tell me, I forget. Show me, I remember. Involve me, I understand”.
You are delivering two different music activities as part of a RWCMD Music Residency at Penarth Pier Pavilion, as part of a new partnership with the Vale of Glamorgan Council. A one-year pilot has been agreed that will see the college run parent and toddler music sessions, base a small ensemble at the pavilion and put on Dance Band evenings for the local community. The parent and toddler music sessions will be run by yourself, Julia Plaut, a composer who served for many years as Head of Primary Music at Llandaff Cathedral School, and take two forms – Morning Mini Music and Little Concerts. Running on a weekday morning in the pavilion gallery, Morning Mini Music sessions are focused on music and movement that help children with interaction and socialisation. Little Concerts will be weekend afternoon music events for families, specifically designed for the under-5s, that feature new works from RWCMD composers”
Credit Kirsten McTernan
How did you come to be involved in this project and what are your ambitions for its delivery?
Part of my work at the RWCMD is mentoring selected students in early years pedagogy. This project gives industry-facing experience to these students under the umbrella of an expert practitioner. My ambition is that we deliver high quality musical experiences for Penarth children and their families that create a real buzz locally while providing sector leading training for RWCMD students. You can find out more about the project and book tickets here
You are the Artistic Director of Little Live Projects, this charity works to “inspire young people to flourish through sharing excellent musical experiences with professional musicians” How do you deliver this work?
Little Live Projects has two strands. One is the Little Concerts series of joyful interactive chamber music events presented in partnership with the RWCMD. The other is the Cardiff Children’s Choir, an after-school community choir for children aged 5-11 years based at Urban Crofters near City Road in Cardiff. The choir welcomes all local children and particularly those from displaced families or who are facing barriers of any kind.
Credit Kirsten McTernan
You have close links with The Royal Welsh College of Music and Drama in Cardiff, how did this relationship develop?
Quite a few of the RWCMD staff team have been professional colleagues over the years. I’m a tutor for baroque bassoon and early years pedagogy there. I formally pitched the Little Live Projects vision as part of my M.Mus studies. The RWCMD and Little Live Projects share a strong synergy of vision for future focussed training with outstanding student experience delivered by world-class staff in providing transformative experiences for diverse communities.
The Little Live Projects Team.
Funding for musical provision is increasingly being cut for young people, can you see the impact on young peoples lives and possible career paths as professional musicians as a consequence?
Good quality instrumental music tuition is a very expensive to fund, and importantly, to sustain over long enough to allow children to become accomplished enough to consider a career in music. El Sistema style initiatives like Making Music Changing Lives in Cardiff are doing brilliant work to address this deficit. I have questions about the usefulness of the large group instrumental teaching that takes place in schools which only gives a cursory taste, often on poor quality instruments and without the formation of basic good technique. I am however excited by the potential for choral singing to provide a quicker route into embodied musical understanding and real accomplishment. It works brilliantly in large groups and embeds aural and other transferable skills that children could then take into learning an instrument.
If you were able to fund an area of the arts what would this be and why?
I would fund an expert Kodaly practitioner to lead singing in every primary school in Wales one day a week. Each child has a singing voice that can be nurtured, giving them a worthwhile means of self-expression. Through singing together children develop the intimate knowledge of a social togetherness in which discipline and order prevail. Not only would these practitioners lead and embed singing but, in doing so, they would be providing continuing professional development for staff to carry on the singing confidently during the rest of the week.
What currently inspires you about the arts in the Wales?
I am inspired and encouraged by the way Ty Cerdd are championing Welsh composers and creators across a broad range of styles. I also gain a lot as a member of Anthem’s Atsain Network. Hearing nuts and bolts stories from other community music practitioners from around Wales gives me loads of inspirational ideas.
What was the last really great arts event that you experienced that you would like to share with our readers?
Recently I attended a fabulous concert by Genesis Sixteen and Harry Christophers singing Handel’s Dixit Dominus at RWCMD. The musical excellence and vibrant energy that was released through seasoned professionals mentoring young singers, conductors, instrumentalists and soloists (aged 18-23) was breath-taking. It made my heart sing to see the cascading of good things into the next generation of musicians.
What was your original inspiration behind the Rocky Horror Show?
Someone asked me to entertain the Christmas staff party at the EMI Film Studios and so I wrote a song (Science Fiction Double Feature) and with the help of some jokes, performed to much laughter and applause.
In the New Year I wondered whether it might serve as as prologue to the germ of an idea that I had for a musical. I shared that thought with Jim Sharman who had directed Jesus Christ Superstar. Jim liked the concept and away we went.
Why do you think it is still successful today, half a century later?
It is simply a Musical Comedy and as long as it rocks, and the audience are laughing what more could you wish for?
It’s very inclusive, it’s very easy to watch. It’s not rocket science as far as narrative is concerned – Brad and Janet are a couple that we kind of recognise as Adam and Eve or Romeo and Juliet, like a stereotypical couple – we can all relate to them.
It is also a fairy tale which allows us to feel comfortable with its rites of passage storyline. A retelling of Hansel and Gretel if you like, with Frankfurter standing in for the wicked witch.
Richard O’Brien
The Rocky Horror Show creates an atmosphere that is different from other theatre shows.What about the show do you believe makes audiences feel comfortable joining in?
The innocent rather naughty fun of it draws not only a ‘theatre’ crowd but also people who want a fun evening and a guaranteed return on the investment of their ticket price.
What was happening in your life at the time you wrote The Rocky Horror Show?
I was a recent father of my first child and out of work when I wrote the show. 1972-73 was a moment of change. Glamrock and overt sexuality was around, gay people were coming out and there was a ‘buzz’ in the air. There are certain parts of the world where we are a little bit more free to be ourselves. London is certainly one of them. Back in the Seventies you had gay bars, but now you don’t need to because if you walk into most bars in London there will be a gay man behind the bar. That is rather nice.
The Rocky Horror Picture Show (1975)
How do you believe the show supports those who are questioning their identity or sexuality?
The support for the LBGT community was unintended but it is a very welcome addition to the laughter and toe tapping.
Has the show supported your own journey surrounding your identity?
It must have been, to some extent, cathartic but I have always gone my own way and played the cards that I was dealt at birth the best way that I can.
Do you have a favourite character?
I would have loved to have played Rocky, that would have been cool, wouldn’t it? But one thing is essential, you have to be rather handsome, and you know, muscular, and that ain’t going to work. I could have played Janet. They’re all so stupidly wonderful these characters, they’re iconographic.
How do you think the live shows compare to the film?
The live show has an energy that the movie doesn’t have – it wasn’t intentional, but the film was very slow. Once some fans came up to me and said, “did you leave the gaps between the lines so that we the audience could say our lines?”. I said, “Well, ok yes”. But no we didn’t. The movie is a very surreal, almost dreamlike journey, the live show is far more rock and roll.
From the 2022 tour of The Rocky Horror Show
What’s your favourite part of the show?
The noise at the end of Rocky is wonderful – it is empowering and exhilarating at the same time it is quite joyous. Rocky never fails to deliver. Each performance lifts the heart and the nightly laughter and roars of approval leave the whole cast with a sense of wellbeing and accomplishment that you rarely get from any other shows.
The Rocky Horror Show remains a huge hit around the world. Do you think the show would be as successful if written today?
Timing is very important as is luck. Zeitgeist sums it up. There are lots of variables in this equation, for instance, would it have been as successful if someone other than Tim Curry had played the lead?
How has the show developed over time? Have there been any adaptations in the past 50 years?
It has remained much the same through the years. If it ain’t broke don’t fix it.
How different do you think your life might have been without Rocky?
I have no idea but, I would have had a good life because I am made that way. My journey has been a different one than others. I guess some people have a game plan. I would imagine they’re rather humourless. Most of us get an opportunity and we wing it. Luck plays an awfully big part in our lives. You should never underestimate that. I am the luckiest person on the planet. I shall be happy as long as I can keep singing.
The Rocky Horror Show is currently touring the UK as part of its 50th anniversary. It plays in Cardiff’s New Theatre in April – more information and how to book tickets here.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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(3 / 5)
(5 / 5)
(4.5 / 5)
