menu

REVIEW OPERA: Salomé @ ENO

 

Richard Strauss

Salome

ENO

Based on Oscar Wilde‘s lurid play, Strauss‘s opera is an intense psychological exploration of the Salomé story. Her brutality and power are the product of the warped cycles of masculine privilege that is passed down through the generations.

Salome is among the works that set the course of music in the last century. It is celebrated for Salome’s ‘Dance of the Seven Veils’, which Herod demands in return for whatever Salomé wants. Her choice is shocking, and reveals how far she will go to embody the twisted ideals of her parents’ world.

Scottish mezzo-soprano Allison Cooke is a shivery striking Salomé , cold and calculating, soft and precious and convinces with her acting of Salome’s agency and knowing presence, her voice doesn’t quite match her magnificence. On some occasion she’s Barbie Salomé, I dread to think what she’d be like on Tinder.  David Soar as Jokanaan is fine, a first glimpse tangled up on stage in plastic sheeting under some florescent lighting tubes, feet clad in red stilettos and prone. He looks like a morning after a rather robust Rocky Horror Show night out, but he convinces in the part of the possessed, confused and demented prophet.  There’s an odd camera contraption attached to his head, like something out of Saw, focused on his mouth which is projected, huge, raw onto the stage behind him. It’s also the focus of Salomé’s gaze as she is furiously rubbing herself, the mouth, the words, and the kiss.  Soar’s voice wrapped itself around the text with conviction, but he’s so often off stage singing from the wings that his physical presence is lost to us.  After a while the mouth projections turns 90 degrees, is it a malfunction or a suggestion of the vagina being rubbed as Salomé writhes over the dead Narraboth? Who knows.

Stuart Jackson‘s Narraboth is an excellent portrait in twitchy super fan geek boy whose voice was excellent; he’s killed himself as he can’t bear to hear Salomé fetishize Jokanaan, as he dies, unobserved & uncared about by Salomé she unbinds herself, Jokanaan echoes this movement using his bandage to cover his eyes, to protect and preserve him from her lusts.

Michael Colvin’s Herod is a slovenly perv, half dodgy Santa half comb-over darts player in a drag-race girdle, all lecherous but more pathetic than prophetic and doesn’t seem at all beguiled by Salomé’s passions, but then as she’s cold and calculating it’s not difficult to understand. His voice rolls around as much as he does, full and profound and gives us tonal texture to his deluded superstition’s but no real feeling of the dread he feels.

Susan Bickley’s Herodias played like some demented fairy godmother, observing and somehow never being part of the action until the very last moment, is tragic and vengeful and harks much stronger to the original story of  Herodias having driven the dance and ‘death to the prophet’ request for his head.  Curiously enough it’s Wilde which gives Salomé agency and intent, fully aware of her actions and not just a psychotic pimped out Pinocchio. The final scenes add only confusion and more oddly familiar queer intimacy to the plot and although dark and somehow in control throughout the production Bickley never seems to hit full stretch.

You can read the full synopsis here

Conductor Martyn Brabbins drove the orchestra to a pitch of rich tease and the narrative thumps along and the music kept me entranced when the silliness on stage was starting to confuse me. The music is superb and pitches the hellish journey of Salomé’s descent into psychopathic sensual glee with subtle grace. The famous dance is more of a jerk’n’twerk, Cook hardly moves, grinds and slides up and down the 30ft decapitated pink Brony on stage, staring at us, watching us watching, deconstructing our gaze and the ensemble dances in their Beyoncé masks do some moves and own the space. It’s all about girl power and empowerment but the connection between the key musical parts and the staging faded away from my grasp.

It’s a Salomé without some of the major plot points, the ones the narrative hinge on, and although this allows some fine acting, it doesn’t give much in the way of audience satisfaction, but as this opera is all about power, gaze, performance and control perhaps that’s the point, that we, like Salomé, are denied what we want, the Tarantino porno violence of the narrative and are instead given a noir series of motives which lead us up to the inevitable conclusion, which again is denied us.

By avoiding real bloodshed and giving us my little decapitated pony cartoon gooey gore we are forced to confront our own desires, our own expectations and here director Adena Jacobs’s new production for English National Opera has done something interesting.  He’s given Salomé back her dignity, twisted, death obsessed, vain and impulsive she may be, but here she’s in control of it all.  The others are all her toys, to play with, pull apart, or avoid being played with. She’s defiant and threatening, abused and abusive, swinging her aluminium baseball bat, making it clear she’s as much pitcher as catcher. It’s all about the gaze in the end, the ones not given and the ones stolen without permission. She’s the one to decide who gets satisfied and if it’s not to be her, then none of us will be.

The opera opens with comments about the consequences of the letch and the dangers of longing & looking and here we see played out in technicolour twaddle the bloody results of obsessive desire and unrequited demanding privilege taking out its anger on the powerless.

Jacobs closes the opera robbing us of the head; that head, just a white plastic bag of sloppy goo, like a take away the next day.  Salomé undeterred and singing with fierce focus goes to kiss it, with her mother’s hands covering her eyes, and then it’s her mother’s lips meeting her own.  No time to think, no head to blink. It a feast of the Freudian absurd and when the gun comes out, slowly phallically placed in the mouth and the darkness falls with that crashing terrible painful musical closure, that final chord once called  – “the quintessence of Decadence: here is ecstasy falling in upon itself, crumbling into the abyss”-  we are left in the dark, slightly stunned by it, certainly confused by it, but wondering if what we’ve seen is as profound a feminist take as it appears to be.

Having a blonde, white Salomé might indicate that intersectionality isn’t a part of this supposed feminist reading of Straus and Wilde. I was unconvinced but the production is certainly saved by the effortless and gorgeous music from the pit.  It was ravishing nonsense.

Until October 23rd October.

For more info or to book tickets see the ENO website here:

English National Opera, Coliseum, London

 

 

 

i360 boss steps down

Steve Bax, Executive Director of the British Airways i360 has stepped down.

Steve Bax: Photo: Simon Callaghan Photography
Steve Bax: Photo: Simon Callaghan Photography

Julia Barfield, chairwoman of the Brighton i360 Ltd, announced this morning that Steve Bax their Executive Director has resigned.

She said: “It is with regret that the Board of Brighton i360 Ltd has accepted the resignation of Steve Bax, our Executive Director, who has decided to leave the company to explore other opportunities. His last day in the office will be Wednesday October 10 and he will be on garden leave until the end of February 2019.

“Since joining us in July 2017, Steve has helped the company support many local charities and has worked hard to forge strong links with the local community. He has also helped us to develop a diverse portfolio of products and events.

“To ensure a smooth transition of leadership, we are delighted to announce that David Sharpe, former Managing Director of the London Eye, has agreed to join us, initially on a part-time basis, until a successor is appointed. David has decades of experience leading business and operations at London’s top attractions and we consider ourselves extremely fortunate to have secured his services.

“We would like to take this opportunity to thank Steve for his leadership of the i360 team and wish him all the best for the future.”

Sea Serpents RFC achieve highest scoring win ever

Brighton & Hove Sea Serpents RFC achieved their highest ever scoring win last Saturday (September 29), beating Burgess Hill 3rd XV 12-62 at their ground in Burgess Hill.

HIGHLIGHTS from the match included ten tries scored by; club captain David Phillips (3), Nick Simpson, Spencer Farnham, Kevin Mann, Jordan Webb,  Zack Kaye, Alistair Dickson and Misael Flower who, in his first game for the club was named ‘player of the match’.

Following the game Dave Phillips, the club captain told the team: “You were all fantastic today and not one of you looked out-of-place. There were some amazing performances across every position today. From Tricky claiming he’s too old to play yet still running some of the best support lines I’ve ever seen, to Nicholas’s and Kevin’s distribution. The scrum was solid, the line outs worked and on the whole rucking was strong.”

Man of the match, Misael Flower added: “I’m absolutely loving being part of the Sea Serpents. And well done today to everyone who was there to play and cheer.

“Massive thanks to everyone who’s been so patient giving me instructions during the matches, really thank you! I can’t be effective playing without these guys there.”

Next game Sea Serpents are playing is this Saturday, October 6, away to Worthing Knights in Sussex League Division 4 West, one of the Sea Serpents first opponents in September 2016. This fisture will give a good indication to how the Sea Serpents have improved in the two seasons since them.

After the match the team will be going to Bar Broadway in Steine Street, Brighton, to celebrate the match and launch the Naked Rugby Players Calendar 2019 (from 9pm).

Brighton & Hove Sea Serpents are Sussex’s first fully inclusive rugby club, encouraging gay, bisexual, and trans guys to learn, experience and play rugby in a non judgmental atmosphere. Anyone who shares their vision is welcome to join them.

They are the 2018 Bingham Cup Challenger Bowl champions, and have been voted Brighton’s Favourite Sports Group at Gscene magazine’s Golden Handbags award ceremony for the past 2 years.

The Sea Serpents are sponsored by Bar Broadway, and are members of the Sussex RFU, the RFU and IGR – the body that encourages inclusive rugby around the world.

To view the clubs upcoming fixtures, click here:

 

 

PREVIEW: Women Power Protest – a major new exhibition about women

A new, major exhibition Women Power Protest – opens at the Gas Hall, Birmingham Museum & Art Gallery on November 10, 2018.

Barbara Hepworth - Four Figures
Barbara Hepworth – Four Figures

FEMINIST artists who have explored protest, social commentary, and identity in their work, will be showcased in a major new contemporary art exhibition at Birmingham Museum & Art Gallery this November.

In the anniversary year for women’s suffrage, this exhibition asks just how much has changed for women through contemporary artworks by female artists, drawn largely from the Arts Council Collection, including works from artists such as Turner prize-winning Lubaina Himid, Marion Coutts, Sonia Boyce, Barbara Hepworth and Mona Hatoum.

The exhibition explores some of the experiences of being a woman in 21st century society and the progress still to be made.

Women Power Protest will include bold contemporary artworks from over 55 artists drawn largely from the Arts Council Collection, along with pieces from Birmingham’s own collection.

This Arts Council Collection National Partnership exhibition looks at the experiences of becoming and progressing as a woman amongst varying degrees of opportunity and oppression in relation to race, class, geography and sexuality.

Through debate, protest and radical endeavours, women fought for their right to voice their opinions in a public realm that systematically silenced women. Women Power Protest showcases female artists whose work has highlighted their personal experiences and continued to push for women’s rights over the last seven decades.

The exhibition does not shy away from difficult issues. An early work from Sonia Boyce, Mr close-friend-of-the-family pays a visit whilst everyone else is out (1985) is a charcoal drawing which depicts a challenging scene, that explores the abuse of trust experienced by a young woman, and reflects some of Boyce’s concerns about power relationships. Margaret Harrison’s Rape (1978) uses media texts and images to boldly highlight the injustices against women in rape cases.

Kelly Angela - Women's Identity Series
Kelly Angela – Women’s Identity Series
Emalee Beddoes-Davis
Emalee Beddoes-Davis

Emalee Beddoes-Davis, Curator of Modern and Contemporary Art at Birmingham Museums Trust, said: “This exhibition acknowledges the monumental step taken for women’s rights 100 years ago, but through challenging contemporary artworks it explores some of the experiences common to being a woman in 21st century society, and the progress still to be made. Feminist activism continues as women across the world strive to have their voices heard and this is an ideal time to reflect and showcase these artworks in Birmingham.

“As women, not all the artists featured in this exhibition have gained the recognition they deserve. The exhibition recognises the historic bias in collections and how we have to continue to strive to ensure female artists, and in particular those from black and minority ethnic backgrounds, are given the platform they deserve.”

Jill Constantine, Director of the Arts Council Collection, added: “Representing the work of female artists in the Arts Council Collection is an important aspect of our work. Last year, for the first time, we acquired more work by women than men and in this important year for all women, I am delighted that our National Partner, Birmingham Museums Trust is exploring their contribution in this exhibition.”   

The exhibition will be marked with a weekend of thought-provoking events and activities from Friday November 16 – Sunday, November 18, including performances, spoken-word poetry, debates and talks.

For more details, click here:


Event: Women Power Protest exhibition

Where: Gas Hall, Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham B3 3DH

When: November 10, 2018 – March 31, 2019

Times: Monday – Thursday 10am – 5pm: Friday 10.30am – 5pm: Saturday and Sunday 10am – 5pm

Cost: Free Entry

For more information, click here:

Green Councillors support todays staff strike at Wetherspoons

Green Councillors on Brighton and Hove City Council express support for Wetherspoons bar staff taking strike action today, (Thursday, October 4).

Weatherspoons in North Street Brighton
Weatherspoons in North Street Brighton

KITCHEN and bar staff at both Brighton Wetherspoons branches in North Street and West Street will coordinate action with workers from McDonalds and TGI Fridays, demanding better pay and working conditions.

Poor wages and long hours in the hospitality industry mean that many kitchen and bar staff workers struggle to meet the cost of living in Brighton and Hove. A recent analysis of cost of living data by the National Housing Federation revealed that Brighton and Hove has now become one of the most expensive cities in the UK to rent and live.

Local workers have described how they ‘panic’ if they have to take a sick day, face unpredictable hours and wages and are beset with constant worries about how to cover rent and bills.

Cllr Phélim Mac Cafferty
Cllr Phélim Mac Cafferty

Convenor of the Green Group, Councillor Phélim Mac Cafferty said: “Green Party Councillors in Brighton and Hove stand in solidarity with all hospitality workers striking for better pay today. A company the size of JD Wetherspoon has declared a pre-tax profit of £89million, a 16.5% rise on the previous year. Yet their very own workers can hardly afford the cost of rent or bills. And this is happening when studies have shown many in our city spend over half of their income on rent alone.

“It is completely unacceptable that so many people in our city have wages that barely cover the cost of living. Bar and hospitality work is notoriously precarious, often beset with zero hours contracts, unpredictable hours and a fluctuating salary, leaving too many people on the brink of poverty, making ends meet from pay cheque to pay cheque.

“When the Greens led the Council we introduced the Brighton and Hove Living Wage to take account of the true costs of living locally; and we will continue to push all our city’s employers – especially in the hospitality industry- to ensure this becomes the norm.

“But this is also why Green Councillors have pushed for genuinely affordable rents in new housing. We have lobbied the government to allow our council to borrow to build new homes, many of which must be for lower paid workers.” 

Warwick Rowers celebrate ten years challenging homophobia

Warwick Rowers continue their quest to challenge homophobia in sport with a brand new calendar for 2019.

KNOWN for baring (almost) all, year after year in tasteful and tantalising snapshots, the 2019 edition not only features the University of Warwick’s Boat Club, but also includes 2017 World Rowing Cup champion Robbie Manson all beautifully photographed by photographer Angus Malcom who created the project.

The Warwick Rowers project is a gay/straight alliance that dates back to 2009, when their first calendar was launched. Producer Angus Malcolm and generations of male rowers at the University of Warwick Boat Club have since achieved global recognition through a fundraising initiative and public awareness campaign that delivers a range of merchandise and products to around 80 countries every year and reaches more than 140 countries through its viral messaging.
The team has won a large number of awards for excellence, innovation and social impact, including twice being voted the UK Charity Calendar of the Year.
Their aim is to achieve three objectives: 
  • Promote positive, inclusive and respectful attitudes towards people of all genders and sexualities through the content that they create.
  • Fund university rowing and particularly to make rowing more accessible to a wider number of students
  • Fund the foundation Sport Allies, a registered charity group with a mission to promote sport, and particularly team sport, as an inclusive and supportive route to personal growth for everyone of all sexual orientations

The rowers, who happen to be mostly heterosexual males, donate the proceeds from their calendar and other merchandise to Sport Allies, an organisation championing sport as inclusive and diverse, while combating homophobia and gender bias.

To date, the Rowers have raised over $1 million in sales for both the Sport Allies foundation and the rowing program at Warwick University in the UK.

To order a copy online of the 2019 calendar, click here:

X