Satyagraha. A review
This week I travelled to London with my daughter to
see Philip Glass's opera Satyagraha at the Coliseum. I am not a regular opera
goer, but have always loved Philip Glass's music and was excited to have the
opportunity to see this performance.
The autumnal colours of the set contrasted with the Victorian
sombre costumes and the bright yellows and whites of the Indian saris in the
First Act. The balletic slow walk of the performers gave a meditative
processional quality to the work, with the extraordinary puppets adding mystery
and humour. Imaginative use of newsprint as a projection screen and transforming linked pages into a dragon like creature provided constantly changing scenarios.
There was a quality of serenity about the
performance despite the references to violence. Glass's characteristic
repetitive phrases and subtle key changes, though anticipated, contined to
surprise.
The clarity and purity of Alan Oke's singing and his
characterization of Gandhi was spell binding. His vow in the Second Act
entranced the audience and was incredibly moving. The recurring rising phrase in the Final Act was
mesmerising. While he sang, a representation of Martin Luther King preaching, stood
high at the back of the stage at a pulpit facing away from the audience,
orchestrating the clouds with his definitive arm movements. I wanted it to continue forever.
I can't begin to understand the depths of this work,
but I am left with a hunger to discover more about Gandhi's early life and the
development of his spirituality. If you get an opportunity to see this work, I
can guarantee you will not regret it.
CPNov 21013
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