Review by George Dixon
English Eccentrics premiered in 1964 as an adaption of the book “The English Eccentrics” penned by Dame Edith Sitwell in 1933.
The opera was quite ahead of its time and, in some circles, would have been considered to be an Anti-Opera, which in some ways would have been a considered opinion. This chamber opera, in two parts, is a fast-paced, tongue-in-cheek jab that examines aspects of English eccentricity. While its comedy is clear and crisp, the storylines hold a poignant message.
In true Operatic style, each part ends tragically. In the first part, we find Ten individual small stories, followed by scenes Two and Three, each more elaborate and longer. The second part consists of Four separate stories, with the first and last connected.
The cast are kept on their toes, with quick costume changes and adaptions of characters. With a total of thirty-nine eccentric characters between eleven principal cast, there are multiple changes for each cast member, depending on the character’s stage time. Plus, an ensemble of nine performers certainly fills the stage area.
Special mention to Henry Shaw (Thomas Parr, A Governor of the Bank of England, Captain Philip Thicknesse, Parish Constable) who presented a heartfelt masterclass as Captain Philip Thicknesse. With a rich Bass-Baritone voice, his presence is commanding; the character allowed Shaw to showcase additional aspects such as timing, effective use of silence and emotion, and his comedic abilities, which brought Thicknesse to life. The audience applause was a genuine appreciation of his outstanding performance.
The creative team have been totally outstanding with this production. Conducted by Susan Collins, the small chamber orchestra of seven musicians covers a myriad of musical styles, from classical opera to darn right silly, depending on the character, the style of comedy being light or dark, and the atmosphere required, as in the tragic endings of part One and Two. With instruments consisting of Clarinet, Bassoon, Trumpet, Violin, Cello, Percussion and Piano.
The skilful execution of fast-paced scenes, characters and events was a seamless delight.
Hats off to Louisa Fitzgerald, Set and Costume Designer. The period costumes were true to the period styles and colours. Fitzgerald’s artistic flair and set adaption are very stylish, with smart thinking through the use of hanging painted sails strategically placed for the various backdrops and a similar concept representing the tall trees of the forest.
Harrie Hogan, Lighting Designer. She is congratulated on her sensitivity and outstanding artistry in producing an amazing final scene with such atmosphere and lighting interpretation that absolutely enhances the tragic ending. Her use of stage front footlights provides the authentic feel of the 1930’.
Stuart Maunder AM Director. Maunder’s ability to put together an amazing theoretical experience shines with this production. Victorian Opera’s vision of providing a vehicle for developing artists is in good hands. English Eccentrics is not without its challenges within all aspects of sections of performance. Its many short stories and fast-paced require synergy and energy at a high level. The open stage leaves nothing to hide and many opportunities to miss a beat. The role and steady hand of the Director becomes the pivoting point.
Cooperation, synchronisation and fun have produced a wonderful experience for the cast, crew, and audience.
Photo image: Hilary Walker
