Reviewed by George Dixon
A reimaged masterpiece by Victoria Opera.
If there is ever an Opera to experience, Abduction is the one. Wolfgang Amadeus Mozart’s “The Abduction from the Seraglio” was originally presented on 16th July 1782 at Burgtheater, Vienna. This re-imagined creation is a brave and ambitious undertaking that pays off and ticks all the right boxes.
Applying a shortened title can be considered an indication of refashioning the production. The fusion of the spoken script in English, marrying with the traditional Operatic sung in German, with subtitles, is a stroke of genius that enhances the experience and audience responses, especially the comic timing of some of the very witty and current phraseology.
Absolutely every aspect of this production has been dismantled and rebuilt with purpose and precision that is honouring to the perfectionist standards that is the hallmark of everything that is Mozart, including the silence that punctuates the atmosphere and devastation of consequences.
Hats off to the creatives for their insights and development in making this a remarkable experience and feast for all the senses: Chad Kelly, Conductor. Constantine Costi, Director. Nathan Burmeister, Matilda Woodroofe, Set and Costume Designers. Paul Jackson, Lighting Designer. Shannon Burns, Movement Director. Samuel Moxham, Sound Designer.
Simplicity is a word that comes to mind when looking at the set design, an oversized love heart sitting on a platform that glides, is a constant reminder of the overall theme of the Opera, becomes the opening scene entrance to The Pasha’s mansion, and later the backdrop to other activities. At the rear of the stage, one finds a small rise of steps with a “Y” arrangement of steps left and right, indicating a second level. Further to the right is a second-level balcony. The open stage provides ample room for the company
Nathan Burmeister, Matilda Woodroofe have knocked themselves out with the set design, which is an example of simple design using various materials of a single colour, “Red”, including the backdrops, and Handmaids’, Bellboy’s’ uniforms and other costumes. There is so much red material used, it would not be hard to consider, there’s a shortage of “Red” Australian wide for anyone else.
Other costumes are not only individualistic, they are also very aesthetic, with special note to the magnificent selection of Pasha’s outfits.
Within the opening scene, the introduction of Luke Stoker as Osmin, standing there, straight-faced faced while dressed as the gatekeeper, in costume, complete with red cowboy tasselled chads, and a matching black hat with red tasselled fringe, sets the tone for the night.
The Cast: Lyndon Watts The Pasha. Cleo Lee-McGowan Konstanze. Katherine Allen Blonde. Luke Stoker Osmin. Kyle Stegall Belmonte. Douglas Kelly Pedrillo.
All Mozart specialists, not only demonstrated a masterclass that showcased their incredible gifts and talents, they also gave an Olympic standard performance, supporting each other and bringing their respective characters to life.
Special mention to Cleo Lee-McGowan for her bravery for standing in perfect position on the love-heart stage, while large arrows were shot through the back of the platform. To Kyle Stegall and Douglas Kelly for negotiating a rope ladder from the second-story balcony, and to Lyndon Watts, who maintained a striking, commanding presence as The Pasha. For me, the highlight performance was Luke Stoker as Osmin. This character displays aspects of seriousness, comical elements, including dialogue, dance, and facial expressions, along with a scene of deadly intent.
Victoria Opera’s production of Abduction is playing at the Palais Theatre, St Kilda until August 16th.
For more details: https://www.victorianopera.com.au/production/abduction/
Photo credit: Jeff Busby
