Reviewed: Sunken Garden and The Turn of the Screw

Never mind the gimmicks.

Sunken Garden; The Turn of the Screw
ENO, Barbican; LSO, Barbican

Nostalgia and novelty have collided this month in classical music. It seems strangely apt that the week in which the “first 3D opera” premiered at English National Opera should be the one in which we lost Sir Colin Davis, one of the great conductors of the 20th century. The white-tie-and-tails world of opera 60 years ago has morphed into the hipster variant, being set up in pubs, clubs and warehouses. Opera has come a long way but has it all been progress?

“3D opera” is a PR gimmick. All opera is three-dimensional, that’s the beauty of a genre that lives in the live moment, the shared breath between stage and audience. It’s an odd paradox of technological innovation that the more we chase immediacy, the further we flatten the world into the digital confines of simulation and counterfeit.

Sunken Garden, a collaboration between the novelist David Mitchell and the Dutch composer Michael van der Aa, wisely acknowledges this. A technological thriller, the story encodes its own limitations, teaching us to treat any digital Eden with suspicion, to doubt human truths that come edited and soundtracked in an artistic video package.

Yet somewhere in the creative process these two seem to have been seduced by their own illusions; Sunken Garden offers us magical visions, visual trickery and plenty to keep our hyperlinked minds occupied but what it jettisons is emotional truth. Not even the excellent performances of Roderick Williams (as the video artist Toby) and Katherine Manley (Zenna, his patroness) can find authenticity in the mirage. Van der Aa’s score delights in simulated electro beats and aural moodmanipulation. The result is a beautiful curiosity, an empty experiment, rather than the vital new blossoming opera needs to survive.

It was a telling contrast to return to the Barbican a few nights later for a concert performance of Britten’s The Turn of The Screw. Originally due to be conducted by Davis, it became a tribute to him by the London Symphony Orchestra. With its chamber forces and shorter length, fully-staged performances of Britten’s opera are hardly thin on the ground. So why perform it in concert?

The answer is one that Van der Aa could do well to ponder. This was a ghost story told in broad daylight. No shadows or ghosts could maintain their mystery on the platform of the Barbican Hall, yet such is the vivid potency of Britten’s score and the skill of its performers here, that there can have been few not stirred by the menace of the tale.

Composed as a world unto itself, barely resting its fingertips on the guiding thread of Myfanwy Piper’s libretto, the score takes the pastoral musical idylls of Vaughan Williams and Bax and curdles them. The chamber ensemble is dominated by its wind, and the soloists of the LSO took up their characters as gamely as the singers. Christopher Cowie’s oboe took us from innocent folk-purity to the feral urgency of Pan, while Rachel Gough’s bassoon subverted the euphemistic beauty of Adam Walker’s flute. Directed by Richard Farnes, the orchestra may have had unusual prominence (no pit to aid illusion here) but such was their clarity of musical intent that it only aided the soloists in spinning the story.

Andrew Kennedy is a tenor made to sing Peter Quint. The ghastly, ghostly purity of his opening narration, telescoping several chapters of James’s original into a few minutes, cements the tragedy before we even begin, and once captured, Kennedy held his audience all the way through to his horrible climax. Sally Matthews’s governess was no less insidious, building from a tense start to fully abandoned psychosis. Supported by Catherine Wyn-Rogers (as an unusually lovely-voiced Mrs Grose) and Katherine Broderick (Miss Jessel) this became a strikingly female take on the tale, pitting serious vocal forces against the hollow core of Quint.

Opera desperately needs creative thinking and risk-taking if it is to survive in an ever more clamorous artistic marketplace. But with quick-thrill computer games and 3-D cinema steps ahead technologically, surely opera’s unique selling point is precisely its analogue reality. That which film, television and animation are striving to achieve already belongs to opera. We should be celebrating humanity, emotional directness, physical presence, not blindly tagging along behind these other disciplines and banishing our singers to pre-recorded alternative realities.

Above all, we mustn’t forget the music. In all this talk of “film opera” and “3D opera” van der Aa’s score has become overlooked. What both Britten and Davis understood is that if you get the music right everything else falls into place. All the budget and technology in the world will never better a thrilling live performance of a good score. I’d pick the withered lawns of Bly over van der Aa’s lush Sunken Garden any day.

The ENO's "Sunken Garden". Photograph: ENO/Joost Rietdijk

This article first appeared in the 29 April 2013 issue of the New Statesman, What makes us human?

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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