The Coronation of Poppea - English Touring Opera
Elements of this fact-based narrative still hold frighteningly true today
Norwich Theatre
The second night of English Touring Opera's Autumn Tour visit to Norwich Theatre Royal transported us back to AD 60, to the world of ancient Rome at a time when Nero had been ruling the Empire for six years. Chronologically, it was also a giant step back in time from the previous evening's 'Cinderella', which is set in late 18th century Italy, and also a musical jump from the lyrical Romanticism of Rossini to the more literal Baroque style of Monteverdi.
For this production, directed by the ETO's new General Director, Robin Norton-Hale, an English libretto by Helen Eastman certainly makes following of the stage action much easier without having to have one eye permanently aimed at the sur-title translation (although the monitors are still there, with an English transcript, for those who need, or prefer, them).
With another simple, but innovative, set design by Basia Bińkowska, featuring an arrangement of abstract geometric shapes that lend themselves well to Charlie Morgan Jones' lighting design, the gods of Love, Virtue and Fortune are able to gaze down on the mortals from above. The effect is striking – a cross between 1930's Novocento architecture and, perhaps, The Hunger Games.
Another interesting feature of this classic political satire of sex and murder is the casting of Martha Jones as the androgynous Nero – a nod towards gender-fluidity perhaps, but an important statement of female empowerment nonetheless. It is just unfortunate that the taller, and glamorous, Poppea (Jessica Cale) has a tendency to visually overshadow the Emperor (Not that this is a contextually problematic – being vertically-challenged and having the ability to attract tall women are not mutually exclusive. Just ask Bernie Ecclestone).
The plot behind 'The Coronation of Poppea' unfolds somewhat ploddingly over three acts, but even with some great performances from the likes of Kezia Bienek as Nero's wife, Ottavia; Elizabeth Karani as Drusilla, and Trevor Eliot Bowes as Nero's tutor and advisor, Seneca; together with the rich variety and tone of the orchestra under the direction of Yshani Perinpanayagam; Norton-Hale's vision of love, life and treachery in Imperial Rome never really grabbed my full attention, nor entralled me.
Which is a bit of a shame, as the elements of this fact-based narrative still hold frighteningly true today – power and corruption in high places, political treachery and intrigue, an over-obsession with fame and celebrity, together with carnal desire fuelled by opportunity and driven by lust – these are all elements that were clearly present within the court of Emperor Nero, still existed in Monteverdi's Venice, and persist to this day.
Maybe I was spoiled by the loveliness of Rossini's 'Cinderella', and maybe I am a romantic at heart, but for me, even with all the technical and artistic merits of English Touring Opera's version of 'The Coronation of Poppea', I was still left slightly underwhelmed.
