For its basis on dramas that have proven so influential, Julian Anderson’s Thebans – a new operatic adaptation of Sophocles’ dramas on Oedipus and Antigone – feels thoroughly undramatic. The triptych of stories are presented out of chronological order, apparently to afford Oedipus’ death a more climactic dramatic moment, but in both Anderson’s score and Pierre Audi’s direction the opera is stagnant.
That’s not to say it’s slow-paced. Cramming three dramas into three short acts
is a difficult task, but it results in a piece that’s all narrative and
exposition. As the drama rolls along at
a brisk pace, it never once pauses to allow any depth of emotion or
characterisation. The audience never
cares about these characters and the music never allows them to shine – aria is
non-existent.
Frank McGuinness provides a libretto that’s direct and
concise with perfect lucidity of plot, but there’s little poetry or spark. The same can be said for Anderson’s score
that never reaches its potential. The
focus is very much on rhythm and texture, allowing for the odd beautiful moment
of shimmering harp, rich chorus harmony, or an unaccompanied monologue at the
start of the second act. Yet any
semblance of melody is never allowed to develop into lyricism and any sense of
climax is forced; instead the score is constant and contained, never pausing to
revel in sonorous beauty, never allowing the drama to breathe. With little to compel the audience, boredom
quickly sets in.
It’s not aided by the dull set design. With so many modern operas creating lavishly
artistic sets, it’s surprising that Tom Pye has opted for something so static
and lifeless, whilst Audi’s direction is pedestrian and full of disparity
between the libretto and stage action.
The ‘future’ set in the second act is the most successful, with its all
black costume design, stark lighting and frightening use of projection. Overall, however, Thebans offers little to excite the eyes or the ears.
There are, thankfully, some gems in the cast, particularly
from the women who all offer perfect diction – namely Susan Bickley as Jocasta
and Julia Sporsen as Antigone, though neither are given a full opportunity to
let their voices soar. Roland Wood offers
a strong performance as Oedipus and Jonathan McGovern shines as the young
Polynices. Elsewhere the cast often
struggle against the orchestra, particularly in the lower registers – perhaps an
issue with orchestration rather than vocal projection.
Ultimately the focus on narrative above all is the downfall
of Thebans – a more exciting
production to match the thrill of the drama alongside some sparkling music
would enrich this otherwise dry opera.
2/5
Watch: This run of Thebans
at the London Coliseum has now ended.
