Noye’s Fludde at the Theatre Royal Stratford East review ****

Noye’s Fludde

Theatre Royal Stratford East, 3rd July 2019

You might think it’s a bit sad really. A grown man in his 50s on his own at a children’s opera performed by a community that he cannot claim to be any part of. Unfortunately my kids never caught the Britten bug when younger, despite what I thought were subtle attempts to influence them, and are now way too old to traipse along with Dad to this sort of thing. Actually what am I talking about? There was never a cat’s chance in hell that they were going to fall for Britten or opera, children’s or otherwise. A situation likely shared by 99.999999999% of the population. Which meant I was pretty much the only audience member there for the opera than the performers.

For this was the only Britten opera, (if you discount his version of Gay’s Beggars Opera), that the Tourist had never seen. And completism, as my regular reader undoubtedly registered sometime ago, is one of the Tourist’s many vices. As is condescension. So forgive me when I say that the bulk of the audience probably had next to no interest in Britten or his operas. But they did have a vested interest in seeing their little darlings on stage. And I can assure you that those kids made them properly proud. Though I would contend that, without the genius of BB, and the unnamed writer who created the Chester mystery play text from which the Victorian writer Alfred W Pollard drew his adaptation, this wouldn’t have been anything close to the uplifting entertainment it was.

BB had already written a little children’s opera, The Little Sweep, in 1949 (part of Let’s Make an Opera) and also previously adapted text from the Chester play cycle for his Canticle II, Abraham and Isaac. To Pollard’s text he added a few hymns, a Kyrie and an Alleluia chorus. There is a spoken Voice of God, played by acting royalty Suzanne Bertish no less, and Noah and his wife are both professional roles, here Marcus Farnsworth and Louise Callinan. Whilst Mr Farnsworth may be better known in recital he also has a distinguished opera CV to date and Ms Callinan is a veteran of multiple European houses. This, along with the 15 members of the ENO Orchestra, Martin Fitzpatrick, (Head of Music at ENO who conducted), Lyndsey Turner directing, and the likes of Soutra Gilmour (designer), Oliver Fenwick (lighting), Luke Halls (video), Lynne Page (movement), Oliver Jeffers (artwork) and Wayne McGregor (choreography), shows just how seriously the ENO took this production. This serious intent though never crushed the joy of its construction.

For Noye’s Fludde is really all about the amateur participants across the named human, (Noah’s sons and their wives and some gossips), and animal, (plenty of these, as you might expect), roles and the chorus. Step forward and take a bow Brampton Primary School, Churchfields Junior School, Newham Music and Newham Music Hub, and all the other local musicians and singers who were a part of this mammoth effort. And the Mums, Dads, siblings, Grannies, Grandads, carers, teachers, teaching assistants, community assistants, chaperones, ENO and TRSE back and front stage folk who chipped in. I hope you enjoyed it. I certainly did, even without any companions.

Special thanks though to BB. The idea of Noye’s Fludde had kicked around for a few years but it was a TV commission, eventually championed by Lew Grade at ATV, that spurred BB on to completing the score in March 1958. The wonder is that such genuinely inventive and atmospheric music should have been so brilliantly created for amateur musicians, as well as the professional core. And not just for the bugles, (hand)-bells, whistles and all manner of other improvised instruments that populate the music. No, there are proper parts for violins, violas, cellos, double basses and recorders. More than that these parts vary in difficulty with each section led by a professional. And there are plenty of passages which flirt with dissonance, in the manner of BB’s “grown-up” operas, well beyond the stuff you might expect from a “children’s” piece.

Listen to the first hymn which has an out of step bass line motif to contrast the chorus which lends a darker quality. This bass motif is taken up by the timpani to herald the first of God’s warnings. The syncopated song which follows as the Noah family come up is much more upbeat. The jaunty Mahlerian march which accompanies the Kyrie presages the entry of the animals and follows a striking, literally, as all manner of percussive effects are provided by the amateurs, passage as the Ark is built. There is a clever three part canon to introduce the birds. The storm scene at the centre of the opera is that old BB favourite an extended passacaglia, which uses the whole chromatic scale. Mugs hit by wooden spoons simulate raindrops, recorder trills become wind, strings become waves, percussion thunder and lightning, pianos provide the motif. A pastoral follows when the storm subsides and then, obviously, there are simple waltzes on cello and recorder to see off Raven and Dove. As the Ark empties out the bugles sound with handbells, (who pop up throughout until the very end), signalling the appearance of the rainbow. A rainbow that here spreads right across the stage, a fitting symbol of pride, to set alongside the. ecological message.

The way in which BB takes his trademark sound, simplifies it and recasts it for the different skills of his performers is really very, very clever. That it also able to incorporate all these various voices, including, sparingly, the audience and still create really effective, and moving, theatre is even more extraordinary. And just in case you are thinking this all sounds a little too tricksy-twee-schmatlzy-worthy there are plenty of clever visual gags from the animals to undercut it all.

BB specified the opera be performed in public, community spaces or churches rather than theatres. TRSE is such a dear old place however, and the “child’s picture book” design here, (which expertly captures the professional/amateur essence), so enchanting, that I am sure BB wouldn’t have complained. No idea if BB ever even met the architect of TRSE’s heyday Joan Littlewood but it is fitting that this vital piece of community theatre should have been so splendidly realised in such a space.

The Silver Tassie at the Barbican review *****

The Silver Tassie

Barbican Hall, 10th November 2018

  • Mark-Anthony Turnage (composer)
  • Amanda Holden (libretto)
  • Ashley Riches – Harry
  • Sally Matthews – Susie
  • Brindley Sherratt – The Croucher
  • Claire Booth – Mrs Foran
  • Marcus Farnsworth – Teddy
  • Alexander Robin Baker – Barney
  • Louise Alder – Jessie
  • Susan Bickley – Mrs Heegan
  • Mark le Brocq – Sylvester
  • Anthony Gregory – Dr Maxwell/Staff Officer
  • Andre Rupp – Corporal
  • Finchley Children’s Music Group
  • BBC Singers
  • BBC Symphony Orchestra
  • Ryan Wrigglesworth – conductor
  • Kenneth Richardson – stage director

B*gger. B*gger. B*gger. B*gger. B*gger. I never saw Mark-Anthony Turnage’s second full scale opera when it was first performed in early 2000 at the ENO. On the basis of this semi-staged performance from the BBCSO as part of the In Remembrance weekend this was a terrible omission on my part for it is an extraordinary work both musically, and, given the strength of Amanda Holden’s libretto, dramatically. It is intensely powerful and moving even without a full set and staging. It beggars belief that it has not been revived since 2002, (and that it missed out on a run in Dallas thanks to political sensitivities). 

It is constructed as a symphony in four acts, Home, War, Hospital and Dance. Harry Heegan is about to return to the family flat after a football match with his best mate Barney and girlfriend Jessie. Mum and Dad are intensely proud of their son who is about to head off to the war. Next door neighbour Susie joins the party, banging on about God. Mrs Foran from upstairs also turns up escaping abusive husband Teddy. The Silver Tassie, a cup with much significance appears, the men go to war full of optimism. The War act is primarily choral preceded by the mythic Croucher, representing, I think, the war dead and intoning Old Testament-ish doom. An officer complains at the doctors in the Red Cross station. A football game is delayed as the battle begins. The story then switches to the Hospital where an angry Harry is now paralysed, Teddy blinded and Jessie, who refuses to see Harry, is now coupled up with Barney, who saved Harry’s life. The final act sees Harry and Teddy spit out their pain and bitterness at those who still have their futures at the communal dance. 

The opera is based on Sean O’Casey’s eponymous plan and it is therefore we who have to thank for the gripping drama. Whilst it is never made explicit, O’Casey intended that the Heegan family, and the rest of the community, should hail from the East Wall, a working class district of Dublin, adding further pungency to the message of the play (and opera) because, at that time, Ireland was still part of the UK and the republican movement was divided on whether the country should be involved in the war. So as some young men like Harry, Barney and Teddy headed off to war others prepared for insurrection at home. 

O’Casey’s play was rejected by WB Yeats, then head honcho at the Abbey Theatre in Dublin, when it was submitted in 1928, reflecting its political sensitivity. This was after the success of his first three major plays, The Shadow of a Gunman, Juno and the Paycock and The Plough and the Stars. So it premiered at the Apollo in London’s West End. There have been a fair few plays which rail at the futility of war and its consequences on the individuals who fight in it, but I doubt many match the raw power of The Silver Tassie. 

So Amanda Holden, (to be clear not the airhead judge on BGT), and M-AT had something monumental to work with. Even so, and in no way intending to downplay Ms Holden’s contribution which provides M-AT with multiple opportunities to show off his trademark stylistic jagged juxtapositions, it is the score that takes the breath away. M-AT had already shown his dramatic flair in his first opera Greek, and his compositional skill with orchestral pieces such as Three Screaming Popes, Momentum, Drowned Out, Dispelling the Fears and Silent Cities, especially when it came to percussion and brass, but The Silver Tassie is on another level.

The symphonic structure is inspired by mentor Hans Werner Henze’s The Bassarids, with the first act setting out the main ideas and themes, the second the Adagio slow movement, brought to life by the large scale choral scenes (echoing the more Expressionist feel of the act in SO’C’s play), the third a Scherzo and the last act a “dance” finale with “off stage” band. This structure offers rhythmic backbone and plenty of tunes derived from song, (including Robert Burns’s own Silver Tassie), and dance, as well as repeated motifs, which make it easy to follow and show off MA-T’s uncanny ability to capture the emotional interior of the characters. There are episodes of rich orchestral colour but there are also plenty of more economic orchestration.  The score should give the singers plenty of space, but just to make sure the cast were miked, (though M-AT, a couple of rows in front of me, needed to dash up to the sound desk to get the balance right early on).  The second and fourth acts are up there with the best I have ever heard on an opera stage. Even allowing for the fact that this wasn’t an opera stage. 

Sometimes this semi-staging lark can leave singers looking a little awkward unsure of how much to commit to performance versus voice. Costuming can also, sometimes, appear incongruous. Not here though, at east once the first act go going. There were some outstanding vocal performances, notably for me from Sally Matthews and Claire Booth, and Marcus Farnsworth as Teddy was very persuasive. But baritone Ashley Riches as Harry, even from my two perches (side stalls first half, back of circle second), was bloody marvellous not just in his singing but also in the way, pre and post wheelchair, he projected Harry’s exuberance and then his pain into the whole auditorium. 

Now I have nothing to compare it to but, given just how amazing this was, I have to assume that Ryan Wrigglesworth and the BBCSO, and the BBC Singers and Finchley Children’s Music Group (complete with ensemble writhing) got as close as possible to the heart of the music. 

You can listen to it for a couple more weeks on BBC Radio Opera on 3. Do yourself a favour and do so. 

And can I beg the ENO to find a way and time to revive this. With Mr Wrigglesworth on the podium. I will chip in a few quid if it helps.