Opera in a blender
Jewish director Barrie Kosky's latest offering, Poppea, plays out in 17th-century Rome, where cunning and evil were rewarded with wealth and prosperity while the innocent are left with only a shallow grave.
THEATRE REVIEW: POPPEA
REVIEWED BY MIKIE WAKERMAN
A FEELING of excitement with a splash of trepidation is not uncommon when one is about to enter a drama theatre that has been painted by the brush of Melbourne-born, but now largely Berlin-based, Barrie Kosky.
For the Jewish director’s latest production Poppea, it was no different. The story plays out in 17th-century Rome, where cunning and evil were rewarded with wealth and prosperity while the innocent are left with only a shallow grave.
Poppea seductively employs Nero the emperor to end the lives of not only his empress wife Ottavia, but his closest adviser and philosopher Seneca, in order to propel herself toward the throne. Cleverly crafted and pieced together, we are thrown into disarray by what only could be described as an opera remix for the open-minded.
The score combines Monteverdi’s baroque opera with Cole Porter classics, known for their cynical take on modern sex, and is a masterstroke that plays out with seamless ease.
This opera will see the purists go pale with shock, but I find this more a work of art than some unsubstantiated desecration of a timeless masterpiece. Kosky describes it as art that is “truthful to us”, where sex, passion, politics and murder are accompanied vehemently by three cellists and Kosky himself on piano. Yet the applause must be held for the ensemble of actors of whom Kosky demands a rigorous unadulterated performance. They are the key to what makes this opera grotesquely charming.
From the sassy burlesque performance of Barbara Spitz as Amor to the earthy portrayal of Poppea by Australian Melita Jurisic, the cast had the audience spellbound from the opening number of Porter’s Love for Sale until the evoking closing duet of The Coronation of Poppea. A sparse and beautifully lit stage saw Nero and Ottone played with strength, torment and passion by Kyrre Kvam and Martin Niedermair respectively. Special mention must go to Ottavia played by Beatrice Frey and Drusilla by Ruth Brauer-Kvam. Their performances are beautifully balanced being tragic in their essence, yet delivered with comedy through wonderful physicalisation.
When it comes to confronting audiences, Kosky is a pioneer. Only such a mind could have unravelled this concoction of music, costume and characterisation without being held in contempt of the theatre. Without doubt the inventive score really is the backbone of the show. Its combination of both jazz and Latin rhythms are accompanied beautifully by poetic lyrics, which on the odd occasion are abruptly interrupted by a colloquial saying or two.
Poppea has had successful runs in Vienna, Berlin and Edinburgh, but now Kosky brings his production home to the place of his Jewish upbringing. He reports that in Vienna they described the show as a “grotesque musical”, in Berlin they thought it was “Jewish” and in Edinburgh a “baroque cabaret”.
However Sydney labels it, I think Kosky’s Poppea is dangerous, invigorating and somewhat revolutionary.
Poppea runs until August 22 at the Sydney Opera House in association with the Sydney Theatre Company. Enquiries: (02) 9250 7777.