King's Head Theatre: Così fan tutte ★★★★

There are those who can enjoy La Traviata and La bohème multiple times in a year, but I’m one of those operagoers that can see Così fan tutte again and again. Why? Admittedly Don Giovanni, another of Mozart’s tremendous works, is one of my favourite operas and a lot of that has to do with the highly memorable and addictive music, as well as the hilarious narrative that caused a bit of a stir when it was first shown in 1790 at the Burgtheater in Vienna.

Considering it was written and performed in the late 1700s, some may argue that Mozart’s Così was ahead of its time, depicting would-be fiancées falling for new lovers on the same day their fiancés had been called away to war. It would be fair to say that today, where so-called freedom of speech and supposed gender equality exists, current directors wouldn’t be fazed about the way that women are depicted in this opera.

Così fan tutte translated from Italian means both 'School for lovers' or 'women are like that'. It would be unfair to suppose that ‘women are like that’ and, of course, Mozart or his librettist Da Ponte didn’t compose the opera to voice such opinion but some sources suggest that the young composer was writing against the backdrop of the French Revolution, in the final years of the Enlightenment era where rational and liberal thoughts were motivating creative minds, leading to vast new artistic innovations, including this one.

I’ve seen a variety of productions of Così - from the circus-styled extravaganza at the ENO, the Met Opera’s traditional staging and Opera Vera’s modern-day setting with a cameraman recording Don Alfonso charming a TV audience – and I’ve realised how fun, easily adaptable and versatile Così can be performed today.

Now, the King’s Head Theatre have concocted something far more original, which includes both Così as the opera and the play by Louis Nowra, an Australian comedy, as well. Sadly, due to time constraints, I wasn’t able to see the play but I can tell you that I was, more than, pleased with what I took from the opera alone.

Music director, Elspeth Wilkes plays Mozart's reduced score vividly on the piano. Director Paul Higgins sets his opera in a TV studio with digital screens, diary rooms, a security guard and a talk show host to propel the story forward. This hilarious opera follows the male lovers as they get into the cab laughing away outside the King’s Head Theatre Pub, having sealed a deal with the TV presenter, then the audience watch as their women cry. As they pretend to drive away to a false destination, the fiancés return secretly disguised as trendy, preppy types. Yet, the TV show is more of a reality show that is geared towards tearing up relationships for better entertainment value, false drama and cat fights like a typical Jerry Springer show. 


Baritone Steven East is rich in tone as the philosopher Don Alfonso, dressed in a tacky presenter’s suit, and he comes across as a manipulative TV star than a wise Socrates attempting to teach something new. The reality show tries to prove these male contestants wrong - that their fiancées aren't as loyal as they originally thought - at the expense of ruining their relationship and providing better TV ratings.

Caroline Kennedy recently sang the role of Despina in Opera Vera (click here), a few weeks before I had seen this production, where she gave a supremely confident performance. However, her depiction of Despina here is very different. Kennedy retains the same independent and liberal attitude compared to Dorabella and Fiordiligi, but she shows signs of previously being hurt by a loved one and is forced by the sleazy Don Alfonso to take part in the trickery game. Nonetheless, her different accents and singularly talented and silky smooth voice shouldn’t go unnoticed.

The other soloists also deserve credit. Laurence Panter as Ferrando is bright and enthusiastic, Jevan Mcauley as Guglielmo was incredibly impressive, having a way with charming the audience with his warm, deep voice. Ailsa Mainwaring is a skilled actress too and sung well, yet there were times where she sounded weaker than others.

And then there's Stephanie Edwards as Fiordligi. Not only does she exhibit a tenacious character, she has a stunning, sweet-toned voice and acting prowess that I haven’t seen in a young soprano at an early stage in her career before - she is a soloist I hope to see and hear again! So, if laughing, giggles, TV gimmicks and opera is what you're looking for, then here is it.

Così is showing on the 23rd, 25th, 27th, 29th, 31st March and the 2nd and 3rd of April. For more information and to purchase tickets please click here. http://www.kingsheadtheatre.com/

OperaUpClose : The Marriage of Figaro ****

Nicolas Dwyer, Rosie Bell and Mary-Jane de Havas

New beginnings are good yet; they come with the sacrifice of saying goodbye to old stomping grounds, which is precisely the case for OperaUpClose who bid adieu after four loyal years in the Kings Head Theatre from January 2015. Its artistic director, Robin Norton-Hale writes kindly, ‘while our reasons for leaving are a desire to keep on trying new things and pushing the boundaries of what can be achieved by small-scale opera, we have no intention of abandoning our roots’ and this is the kind-of legacy that OperaUpClose has imprinted on many of its followers’ minds including mine.

Their productions La Traviata, which transferred to the Soho Theatre, La Boheme and The Elixir of Love are currently thriving on tour to mid-scale theatres in Winchester, Workington and, most recently, the Ravenna Festival in Italy. This leaves, but only, its final production in the steamy back room of the Kings Head Theatre pub, namely Sarah Tipple and the Belgrade Theatre’s production of Mozart’s Marriage of Figaro, which is perhaps a deliberate choice of OperaUpClose; to end its tenure on a cheerful note.

Regarded as ‘sheer perfection’ by Brahms, Mozart’s upbeat and highly lucrative score, in musical versatility and vocal tenacity, is the optimal opera bound to amuse its audiences. The show begins on a high as many will know Mozart’s infamous work, and in this intimate production there is wit and silliness instilled in its young production team, which emanate talent and confidence.

The stage is re-created through its singers who rush to and fro from the stage and corridor whilst the much-loved overture plays ardently in the background. They throw in a rug, a clothes rack of semi- early 17^th century costumes and a picture-less frame. The score is reduced to two hours and hones in on the necessary focal plots of the opera, keeping the audiences' attention at bay, until the very end. 

The eight members of its cast, who also have to play other characters, include its multitasking musical director, Alex Beetschen who sings and simultaneously hammers in chords on the piano. A libretto, made available in the programme notes, make it easier for viewers to understand who the singers are playing, even if the opera is sung in English.

Here, the opulence of a fancy palace is put aside in an exchange for a small production that addresses its characters’ emotions and their comedic behaviour to their lovers. The minimalistic stage however is a busy one filled with energy and enthusiastic acting from its singers. 

Nicolas Dwyer, Rosie Bell and Fae Evelyn

Alistair Sutherland is a bright and bubbly baritone as Figaro. Nicolas Dwyer is the, slightly, aggressive and scary Count while Rosie Bell and Fae Evelyn, as Susanna and Countess, keep the stage warm through their touching, infectious and fruity voices. Felicity Buckland as Cherubino is silky and pitchy, at the same time, just like her neurotic and adolescent character with Mary-Jane de Havas doing fairly well too. But I fear with Henry Grant Kerswell, as much as he plays an important part in keeping with the opera buffa theme, his vocal timbre was severely compromised by speaking words rather than singing them. 

With only a piano, clarinet, by the experienced Sabina Heywood, and viola, through Joe Bronstein, there was enough instruments to enjoy the magic of Mozart’s lively opera. The singers, even, take time out to learn a cleverly choreographed court dance for the ample space. 

If there is anything to tweak in this production, which I found entertaining to watch, was its inability to move in and out of the stage with a bit more finesse from its singers. Looking at the show as a whole, it lacked tightness and a finely cut presentation; however I am fully aware that its directors may have wanted Figaro to be conveyed in a harder and rougher way to fit in with the up-close nature of its producers. 

The Marriage of Figaro is showing until 8th November. Click here to access the Kings Head Theatre Pub's site.

Autobahn by Savio(u)r Theatre at the Kings Head Theatre **** [FOUR STAR]

Zoe Swenson-Graham and Sharon Maughan

Sip your coffee because you’re in for a ride in Neil LaBute’s Autobahn.  Savio(u)r Theatre’s Tim Sullivan has brought the ‘American play’ to the British fringe stage: the King’s Head Theatre in Angel.  Witness no less than fourteen unique characters in seven playlets conveying the darker and macabre side of humanity in Autobahn, (which translates as federal motorway in German).

The set is minimal: with only a used American car with video projections to give a sense that these zany, ostentatious, menacing, and innocent people are on the road or parked up. With such small-scale stage, one would think that this puts the play in a disadvantage but in actual fact, this is where the coffee comes in and unveils the gold: the value of dialogue, language and words.

Autobahn is an unadulterated version of everyday life - left as it is - which leaps from hope to dread trapped inside a car. Who hasn’t experienced being dumped? Who hasn’t wanted to ‘make out’ in one? Who hasn’t had a massive argument within such confines? In this case, it involves Henry Everett’s character calling his wife a c***, so – maybe – not everyone can sympathise. 

What about the ordeal of supporting your friend who’s locked out of his home and wants to grab his 'stuff'? 'One must take heed!’ hails Tom Slatter behind the steering wheel. Or what about your girlfriend, Sharon Maughan, sugarcoating the truth and openly admitting – in little words - that she took part in an orgy?

The most unsettling, unrelentingly suspense-fueled scene is of a schoolteacher; a closet paedophile. Throughout the show, the audience laugh and even cry at moments of the poignant American humour, yet it’s in this vignette that the audience listen intently and desperately wants to know what will happen next. This is subtly drawn to a close when he requests to touch her hair as he drives, and she sleeps. That’s it –it’s game over. 

The cast was brisk and sharp in transforming into their new personas by donning a different blouse, hat, or hairstyle. The effective 80s classic rock music softened and bolstered the sense of nostalgia; the good life before the ominous conclusion.

Swenson-Graham in her first monologue was focused and poised for action. She was noticeably ecstatic in the ‘making-out’ scene and seemed like she was right at home. Slatter was a bit nervous at first, but it was at his monologue where he went all guns blazing. 

Everett showed his sport and expertise in the paedophile scene; unreservedly suave and cool under pressure, and although haphazard in identifying the men his girlfriend ‘screwed’, he executed good improvisations.

Regrettably, Maughan was not seen enough on the stage. Oozing with potential and remembered for being the girlfriend who left the door ajar and found naked on the floor, the audience, and I, would have liked to see more of her in a dominate role.

Admittedly, I have not read  (nor had heard of) the work of LaBute before viewing the show however, after patiently taking in the punch lines, the jokes and the ramblings of this unique script, one could tell that LaBute is an extraordinary writer that doesn't require the extra fluff.

Sullivan and Zoe Swenson-Graham, cast member and artistic director of Savio(u)r, worked at great length to ensure that no compromises were made and characters were depicting in a way that audience could empathise with.

For tickets and information, please see: kingsheadtheatre.com/autobahn
Courtesy to #LDNTheatreBloggers, and officialtheatre.com for arranging the evening.