Although I am admittedly not a die-hard opera fanatic, I was intrigued by the opportunity to see OpSoc’s unique take on the classic tale of Orphée and Eurydice, which used an excellent new translation by students from Professor Julia Prest’s “Translating French Opera” module. The plot is fairly straightforward: the grief-stricken Orphée journeys to the underworld to rescue her dead lover, Eurydice. Orphée must lead Eurydice back to the land of living without looking back at her—or she will be lost to her forever.
Director Amy Addinall gave the opera a modern twist using a contemporary army setting, and by casting Orphée as female (Tabitha Benton-Evans). In the world of theatrical productions, reinvention treads a fine line—get carried away and it overshadows the story, don’t go far enough and creative changes lack purpose. On this occasion though, the adaptations only enhanced the opera and were cleverly incorporated through details such as camouflage army attire, military-style trench coats, and a gunshot to punctuate Eurydice’s death.
This allowed the indisputable main strength of this show to shine: the impressive vocal performances of Benton-Evans as Orphée, Millie Haldane as Eurydice, and Catriona Kadirkamanathan as Cupid. Benton-Evans was barely off-stage for the majority of the production, and she mastered the large repertoire of her role with poise and assurance. The chemistry between her Orphée and Haldane’s Eurydice was magnificent, and the comedic moments when Eurydice was exasperated by Orphée’s refusal to look at her were well executed. Especially impressive were the segments where Benton-Evans and Haldane were singing in harmony with impeccable tuning and clarity of diction, something which is very challenging and should be commended. Both Haldane and Kadirkamanathan dealt with tricky high soprano melodies with ease and captured the essence of their characters in their performances. Singing prowess was not confined to those in the lead roles—the chorus stayed in tune throughout and their vocal projection was admirable, especially given the absence of microphones. The band were also brilliant and there were few, if any, missteps in their playing. It was clear the band and the company had rehearsed together extensively beforehand, as they were beautifully in sync, a feat which can be attributed to musical director Fanny Empacher.
However, the first half did seem to plod along lethargically after the emotive opening number, and I did struggle to remain engaged—though that was probably largely due to the music being appropriately sombre after Eurydice’s death. This could have been offset with more interesting blocking, or some lighting or set changes, although I respect that it is in the character of operatic productions to refrain from extravagant tech or choreography. Given the simplistic blocking, the chorus needed to bring a high level of energy and make full use of facial expressions to convey the emotion behind the lyrics they were singing, and unfortunately this was missing at certain points. Similarly, there was a particularly noticeable disparity between those who fully committed to the portrayal of the menacing figures from the underworld and those who did not, which did detract somewhat from the drama of Orphée’s quest.
Nevertheless, given that this show was put together in the space of three weeks, and probably on a very tight budget, this was a truly exceptional effort from all involved, and the end result showcased the talents of the cast. Will I see another opera again in the near future? Maybe not; but seeing a well put-together production such as this one is always an absolute pleasure.