Theatre
Michael Portillo - Saved by a song
Published 29 March 2004
Theatre - Philip Pullman's novels make a perfect introduction to opera, writes Michael Portillo
Clockwork
Linbury Studio Theatre, London WC2
''A well-told story's like a well-made clock, relentlessly unfolding until the final tock." There's no doubting the quality of Philip Pullman's storytelling, and since the His Dark Materials trilogy was made into two plays at the National Theatre, it is clear that his writing translates well to the stage.
Now new ground has been broken with an operatic version of Pullman's children's story Clockwork. The author, inspired by the whirring cogwheels of a timepiece, conceived of a story with elements spinning in opposite directions - a tale that, metaphorically, could be wound up and set going.
A tune plays an important part in Clockwork's plot. Sir Ironsoul is a murder- ous automaton who, given the chance, will cut your throat. Fortunately, he will be stopped in his tracks if, in your terror, you calm yourself enough to sing "The Flowers of Lapland". "He likes it, bless him!" If, however, you've forgotten the tune, hard luck. A song that turns a clockwork assassin soppy might seem a thin reason for embarking on the demanding task of converting a novel into an opera, but whatever it takes.
The music is by Stephen McNeff and the libretto comes from David Wood, a highly experienced writer of scripts for children's shows. The opera has toured Britain, and I caught up with this Unicorn Theatre production when it reached the Linbury, the Royal Opera House's subterranean studio theatre. In contrast to what you would expect at most opera performances, the children knew the source material better than the adults, and had little need to study the complicated synopsis.
Some elements of the plot are not exactly original. Karl is a craftsman trained to add to the array of mechanical figures that emerge and perform below the clock face on the Glockenheim village tower at the stroke of ten. But he faces disgrace because he has failed to get his new device ready in time. When he is told he can be presented with a very fine piece off the shelf (the aforementioned Sir Ironsoul), he jumps at the chance and enters a Faustian pact for which he will eventually pay the penalty.
Gretl is a barmaid who falls in love with the clockwork Prince Florian. Unknowingly, she harbours the secret of how to convert him to flesh and blood.
Even though we have met such ideas before, these ones are woven together well. Spookiness is the order of the night. When Fritz starts entertaining friends with a blood-curdling tale about one Dr Kalmenius, the character he has just invented appears in person, draped in a monk's hood and dragging a sleigh loaded with a deadly cargo (later revealed to be the murderous clockwork knight).
The libretto is rich in jaunty rhymes such as "Genius Kalmenius" or "Consider my friend/And comprehend", and the children lap it up. In general, the singers are able to make the words intelligible, but surtitles would still have helped.
The score, written for eight musicians, sends the percussionist racing between gongs, bells and xylophone, with many a bang and crash and all the onomatopoeia associated with clocks and passing time. There is not a dull moment in the pit, and the conductor, Paul Hoskins, produced good sound from his enthusiastic micro-orchestra, made up of musicians supported by the Philharmonia/Martin Musical Scholarship Fund. The music makes few concessions to its juvenile audience. In style, it is uncompromisingly contemporary, rich with dissonances, and there are few tunes for the children to sing on their way home. Pullman's books are known for introducing children to adult ideas, so it is appropriate that this opera should not be a doddle either.
McNeff makes big demands of his singers. Darren Fox rose to the challenge, handling the double guises of Karl and Prince Otto well, especially at the beginning of the second act when he coped more than adequately with the requirement to sing high and long. Bernadette Lord sang sweetly as Gretl. Zoe Todd has the versatility of being an accomplished singer and dancer, and was impressive as the wind-up Prince Florian. The opera closed with a fine duet for the two female voices.
The whole production is designed to travel, and centres on a clock tower with beautiful figures designed by Russell Craig. Sir Ironsoul is a convincing demon: a half-life-sized puppet in shining silver armour whose master propels him around the darkened stage, near-invisible in a black hooded cloak.
Those children for whom Clockwork is their first operatic experience encounter a plot full of fantasy and idealised romance. The denouement depends on innumerable improbabilities and incredible coincidences. Having absorbed all that, the children will be well versed in the conventions of adult opera. They can soon move upstairs from the underworld of the Linbury Studio Theatre to the Royal Opera House itself.
Booking on 020 7304 4000 until 3 April
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