BY JASMINE MIDDLETON
Sāvitri
Persephone Productions
Fringe World Festival
Cheeky Sparrow, 2 February
It’s festivals like Fringe World in Perth that help fuel the arts and give smaller production companies the chance to present their unique creations to the public. Newly formed Persephone Productions, comprised entirely of WAAPA students and founded by Honours graduate Amelia Powers (director) and Jessica Taylor (opera singer), took this very opportunity; they set out to bring Gustav Holst’s ‘underappreciated’ 30-minute opera Sāvitri to life.
Within the cosy and intimate Cheeky Sparrow bar early this month, I felt like one of the exclusive few who knew of what was about to happen upstairs. Tucked away in a private bar above the usual Saturday night bustle, Persephone Productions had created the definition of a pocked-sized performance space: a small stage defined by makeshift black curtains and adorned in flora and fairy lights – and an equally small and select audience.
While the tone of the opera is one of serious, Wagnerian-level drama, following the drive and passion of free-spirited Sāvitri in trying to convince Death not to claim her husband; some of its power was lost in the distracting noise of blokes enjoying their beer and conversations just a little too enthusiastically next door. Unfortunately, the one downside of being subversively set in a busy bar. Especially as much of the opera relies on the emotional weight of silence, its sombre nature felt slightly displaced within the vibrant and laid-back night scene that seemed more fitting of comic opera.
Nonetheless, the performance and conviction of the cast certainly overcame this obstacle. Jessica played an emphatic Sāvitri, her engaging portrayal revealing raw emotion and authenticity. Much of the opera really was a one-woman show, and she had no trouble in keeping the audience engrossed in the story. Jason Kroll (tenor) conveyed the husband Satyavān with equally strong emotive power and clear-cut vocals, even dabbling in some violin playing on stage. Against their free, forest-dwelling characters, Death posed a stark contrast, clad in a pristine suit and clutching a humorously corporate-like clipboard. Lawrence Westrip’s (bass) portrayal was a stand-out performance, maintaining a solid timbre across his entire vocal range. This was especially made apparent in his dark a cappella solo declaring the inevitable fate of Satyavān.
Although originally scored for chamber orchestra, this production’s music comprised entirely of the score reduction on a keyboard; a pocket-sized ‘orchestra’ for a pocket-side production. While the instrument’s limitations did hinder some of the musical drama and weight underpinning the opera, the chorus’ haunting vocals provided some much-needed textural variety and depth (despite some minor tuning issues on the night). Their role was effectively harnessed by the director, often moving around the stage like ominous sirens in visually representing the idea of Death coming closer, and time running out.
It’s also significant to note the sensitivity taken in approaching a text that holds deep significance in Indian culture. Rather than portraying the characters exactly as they were written, the ensemble took care in avoiding any racial appropriation; Sāvitri and Satyavān became ‘environmentally-conscious hippies’ in the forest, standing up against the serious, out-of-place personification of Death in suit and tails.
This group is the prime example of young musicians creating their own outlets for artistic expression and exploration of works, rather than waiting for a position to become available. A sense of comradery was practically beaming out of the cast, and they were quick to join concert-goers, friends, and family at the bar after the final applause. This intimate post-concert buzz made me feel like part of one big family; one that was proud of what the production had achieved in their first official outing.
Regardless of some minor hiccups that inevitably will come from a production’s first project, Persephone Productions presented an accessible operatic ‘snapshot’ of high quality, set in a quirky venue that put the audience at ease and created a unique atmosphere.
The concept of ducking in for a quick opera on a night out in the town is a brilliant one, even more so that it’s being powered by the next generation of young performers and directors. I’m looking forward to seeing what Persephone Productions will bring us next.
READ NEXT: Jasmine interviews Persephone’s Amelia Powers about this new opera company.
Images supplied.
