BY JASMINE MIDDLETON
I’ll let you in on a not-so-little secret: I’m a fan of The Handmaid’s Tale. After devouring the powerful, feminist, and thought-provoking social commentary of Margaret Atwood’s novel – and binge-watching the TV series in record time – I was beyond excited to hear there’s also an opera about it.
And it came many years before the TV adaption.
Internationally acclaimed mezzo-soprano Sarah Heltzel will transform into lead character Offred for this opera’s Australian premiere with Gertrude Opera at the Yarra Valley Opera Festival.
The work was composed by Poul Ruders with libretto by Paul Bentley, and premiered in 2000. Here, Sarah gives us an in-depth look into the inner psyche of her character, and tells us why this story hits so close to home for her – and might for you, too.
Offred is somewhat of an anti-hero. How have you found preparing for this complex and confronting role?
I love playing an anti-hero, because I think that’s what most of us are. Or maybe that’s just me being a misanthrope!
Seriously, though. A character who doesn’t manage to live to all of her ideals, and acknowledges that; who spends a good deal of time just surviving and hoping to outlive the current bad moment; who has a rich inner life that isn’t fully displayed on the surface; who believes herself to be weak, even though she actually shows tremendous fortitude – this is why I connect to Offred. She’s real. She’s flawed. She’s a round character.
Atwood created this story so we could see ourselves in a situation that is not so far removed from reality, that we could not recognise the warning signs and realise it’s possible. It’s a dark story, but an important one, and to get to play such a truthful character is why I love my job.
Much of the original story focuses on how Offred takes refuge in her mind and thoughts when living under Gilead’s oppressive rule. What’s it like to externalise this within an operatic setting?
A character who takes refuge in her mind is an ideal fit for opera. Operatic arias are a vehicle for a character to express herself, like a monologue, and Atwood gives Offred gorgeous text in her moments of reflection in the story. Offred uses beautifully imaginative language and imagery to feed her mind, while her lips and life are oppressed under Gilead’s restrictive law.
Poul Ruders, the composer of the opera, also sets Offred’s solo moments differently than in the rest of the opera; the harmony and vocal line become wilder and use a wider range of dynamics and pitches. We feel her mind churning, inventing, and stretching.
While in her scenes with the Commander, Serena Joy, or Aunt Lydia, her language – both musical and verbal – are laconic and constrained, and the orchestra offers the turbulent underpinnings of her mind and subtext. It really is an effective pairing.
Describe to us the dynamics between Offred and the other characters in the household.
Disclaimer: This response contains discussion of rape and abuse of women.
The dynamics in the household aren’t static – they shift as the story progresses. At first, Offred is completely deferential, efficient, wary. Serena Joy is a bully, but it’s clear she is also constrained in her role as a wife, enduring the humiliating ceremony in which the Commander effectively rapes Offred in her presence on a monthly basis.
The Commander is ultimately a weak character, even though he wields all the official power. His yearning for connection (which he has contributed to eliminating under Gilead law), combined with his narcissistic demand for it, ultimately gives Offred a little power, which she wields to get some information and minor freedom.
She can never quite connect with Rita, a household servant, because there is no real trust there, but with Nick, she finds a point of real connection. Their relationship – both emotional and sexual – is a point of survival. Her need for touch, comfort, and talk are fulfilled, giving her strength to survive, with the hope of being reunited with her daughter. But it’s also a point of shame for her, because she feels she is betraying her husband, who may be alive or dead; it also creates a false sense of normalcy and comfort, making her a bit complacent.
What main issues does The Handmaid’s Tale explore? Are there any that still resonate with society today?
I think every theme in The Handmaid’s Tale is relevant for today. It holds up a mirror to so many ugly things that have lately been becoming more mainstream in society again: misogyny, racism, classism, homophobia…it’s all in there.
The TV series really updates it to show Offred’s back story as contemporary and obviously similar to political and social circumstances we’re seeing today; a rise in hate crimes, attempts to legislate reproduction and birth control, etc. But it’s all in the original text, too, even though it was published in 1985.
The oppressed people of Gilead ended up there like the proverbial frog in the slowly boiling water; they didn’t believe it could get so bad and didn’t, or couldn’t, get out or act against the powers until it was too late. Holding up this mirror is what theatre can do so well – it can cathartically create an experience to awaken hearts and minds, and I do hope our audience will have that experience.
In light of the recent TV series adaption, what new dimension do you believe opera can bring to this infamous story?
The opera follows the novel closely as well, and, while not as extensive as a multi-episode series, efficiently gives Atwood’s text and character development directly, allowing the orchestra to take over the part of the subtext in Offred’s interactions with other characters.
If you have a familiarity with the story or the series, the opera will definitely bring another dimension to it, because music – especially acoustic, unamplified music – has an ability to suffuse your whole being with feeling, engaging parts of your imagination that can usually lie dormant.
What do you hope the audience will take away from this production?
I do hope that people will take away an awareness of how close we are at any time to allowing the sort of Gileadic insanity that Atwood describes, when we become complacent and uninvolved in the future of our countries.
‘“Ordinary,” said Aunt Lydia, “is what you are used to. This may not seem ordinary to you now, but after a time it will,”’ Atwood writes. I’m American, and it feels particularly close to home right now, with the many political struggles our country is experiencing; and the way some of our most powerful lawmakers seem to be twisting the rules to oppress certain groups, including women. The plus side is how many people are waking up, and the protests and voter turnout that is rising. I have real hope, even as every day brings a new horror.
On the musical side of things, I hope people will take away an appreciation for how challenging modern music can effectively tell a story, make you feel deeply, and experience the story in a new way. We have a fabulous cast and production team with Patrick Burns, our conductor; Dean Sky-Lucas, head of music; Greta Nash and Joseph Noonan, film projections and set/costume designer; and Linda Thompson, our director.
This score is one of the most difficult things I’ve ever learnt, but it is also fulfilling, haunting, beautiful, and effective. I’m so excited that I was invited to come to Australia to be a part of this project!
See the Australian premiere of The Handmaid’s Tale featuring Sarah Heltzel as part of Gertrude Opera, Yarra Valley Opera Festival, 13 and 20 October, Opera Pavilion, Olinda Yarra.
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Images supplied. Sarah by Tricia Leines Pine. Production images courtesy Gertrude Opera.
