April 20, 2006
Metta Theatre are to be congratulated for their innovation and courage in mounting this witty and challenging piece of music theatre. They have staged an entertaining performance that deserves a large audience.
The Greek original has been reworked by librettist Glyn Maxwell to bring it fully into line with modern ideas. This is essential when updating a classical satire – and has been done with care and flair. The music is both interesting and accessible.
It is clear that the cast spent a lot of time in creating their individual bird characters. With very simple costumes (various coloured pashminas over black) and appropriate masks, they used gesture and physical theatre techniques to great effect.
Musically-speaking the production was outstanding. With only two instrumentalists, a complex and involving sound world was evoked. The mixture of percussion and cello worked supremely well. In terms of the vocal performances, they were all excellent. The blending of the voices in the choral sections was near perfect – each individual giving their best at all times.
If I have one complaint it is that the acoustics of Merton Chapel were not best suited to the clever libretto. All too often, the voices were lost in the ether. This was particularly noticeable when the full cast were singing. However my enjoyment of the evening was not seriously marred.
Owen Findlay as Pitcher, the only human character in the piece, showed a real understanding of rhythm and vocal technique. He dominated the stage with charisma and charm. He was well matched with James Ballance as the Hoopoe. Mr Ballance has a rich baritone voice and a pleasing stage manner.
This sort of enterprise is one that should be encouraged – it is an accomplished production. All involved should be commended.
The Greek original has been reworked by librettist Glyn Maxwell to bring it fully into line with modern ideas. This is essential when updating a classical satire – and has been done with care and flair. The music is both interesting and accessible.
It is clear that the cast spent a lot of time in creating their individual bird characters. With very simple costumes (various coloured pashminas over black) and appropriate masks, they used gesture and physical theatre techniques to great effect.
Musically-speaking the production was outstanding. With only two instrumentalists, a complex and involving sound world was evoked. The mixture of percussion and cello worked supremely well. In terms of the vocal performances, they were all excellent. The blending of the voices in the choral sections was near perfect – each individual giving their best at all times.
If I have one complaint it is that the acoustics of Merton Chapel were not best suited to the clever libretto. All too often, the voices were lost in the ether. This was particularly noticeable when the full cast were singing. However my enjoyment of the evening was not seriously marred.
Owen Findlay as Pitcher, the only human character in the piece, showed a real understanding of rhythm and vocal technique. He dominated the stage with charisma and charm. He was well matched with James Ballance as the Hoopoe. Mr Ballance has a rich baritone voice and a pleasing stage manner.
This sort of enterprise is one that should be encouraged – it is an accomplished production. All involved should be commended.