Tag Archives: Stuart MacRae

REVIEW: Anthropocene – Theatre Royal, Glasgow

Stuart MacRae and Louise Welsh’s fourth work for Scottish Opera (and their first full-length opera) received its world premiere in Glasgow last night. While Anthropocene delivers on many levels, it isn’t quite the perfect package…yet. There’s fantastic potential for thrills and chills both dramatically and musically, but there’s an overriding feeling that the narrative and expected tension of the subject matter has been sacrificed due to uneven pacing.

Entrepreneur Harry King has financed a polar expedition on his state of the art vessel, King’s Anthropocene, an expedition to explore the origins of life on earth. As the ice encroaches, the team become trapped, tensions rise among the small crew and an eerie discovery emerges from the frozen depths.

While Act One firmly establishes each character, it outstays its welcome by a good twenty minutes: there’s unnecessary repetitive padding of the libretto and a uniform musical tone that fails to grip. On the reverse side, its final act comes to its denouement at a break-neck speed. That said there are some hauntingly beautiful musical moments, most particularly at the hands of Jennifer France as the being from the ice. Her gorgeous, ethereal soprano sends shivers down the spine. Less successful both dramatically and vocally are Mark Le Brocq’s Harry King and Sarah Champion as King’s daughter Daisy – each is underpowered vocally and over-acting dramatically.

Samal Blak’s set and costume design, while functional, lacks the necessary detail that keeps the attention for the duration of a full-length work. Matthew Richardson’s direction is functional rather than original or thrilling.

The explorational of our Anthropocene age, science and technology interwoven with ancient beliefs and a touch of Frankenstein, all seem thrilling on paper, and it would have been a stunner had the dramatic potential been fully exploited. It feels like a case of what might have been.

Runs until 26 January at The Theatre Royal, Glasgow, then tours to The King’s Theatre, Edinburgh and the Hackney Empire, London.

IMAGES: James Glossop

 

 

REVIEW: The Devil Inside – Theatre Royal, Glasgow

Novelist Louise Welsh and composer Stuart MacRae continue the creative partnership that started in 2009 with the 15 minute Remembrance Day, with new work The Devil Inside. Based on Robert Louis Stevenson’s 1891 short story The Bottle Imp, there’s much to applaud in delivering a brand new opera but musically it falls short in pleasing the ear.

The imp grants the bottle’s owner everything their heart desires, but, as with all good horror stories, there’s a catch – if the owner dies in possession of the bottle, their soul is eternally damned. The only way to get rid of the bottle is to sell it for less than you paid.

The 100-minute piece scored for 14 instruments and a cast of four is set in the present day and played out on a minimalistic, monochrome set. The only real splash of colour coming from the eerie effectively realised bottle itself.

The four performers are without fault and manage admirably with the complicated score. The biggest issue with the work is the predominantly atonal score, whilst modern and original, grates uncomfortably when sustained over the entire length of the opera. There are four fine voices onstage and one can’t help feel that they haven’t been served well here, and the insufficient variety in the score leaves one wishing for something to break the monotony.

One must applaud new, original work, especially in opera, and the direction, set, performers and the virtuosity of the orchestra and conductor are exceptional, but musically this audience member wants a little more music that one can remember after the curtain has fallen.

Image: Bill Cooper