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/

Gilbert and Sullivan: An witty and upbeat opera that pokes fun out of miserable poets and romantics ****

Taking place in one of the very first Elizabethan pub theatres, the King’s Head Theatre, is a contemporary and polished version of W.S Gilbert and Arthur Sullivan’s ‘Patience.’ Directed by John Savournin of the Charles Court theatre sees a comedy opera on the rapturous undertakings of the aesthetic movement during 1870s-80s England, but with a satirical twist according to Gilbert. These aesthetes of the time included William Morris and even Oscar Wilde who felt that Victorian values stifled art and literature.

With such a witty libretto with a –rather- rapid tempo, all singers appeared vigilant about their poetically lengthy lyrics and like a game of lexical gymnastics, required use of  ‘very sophisticated’ vocabulary.

Two poets, Bunthorne (David Phipps-Davis) and Archibald (Henry Manning) fall in love with barmaid, Patience (Joanna Marie Skillett) yet, even though she favours Archibald, she understands love to be a selfless act as to love someone who not only returns her love but identifies themselves as a ‘trustee of beauty’ and perfection would be selfish. Gilbert’s mockery of these poets is heightened with the hilarity from the maidens played by Helen Evora, Andrea Tweedale and Amy J Payne as Lady Jane, who unlike Patience, desperately stalk and pursue these intellectual pups. This is parodied against the try-hard philistine men of the Dragoon Guards (Giles Davies, Michael Kerry and David Menezes.) Dressed in handsome soldier uniform they over-think the melancholic maidens’ preference for ‘early English’ men of poetic virtuoso and have a hand (later on) in dressing badly as clown and member of Led Zeppelin. Yet it’s just a ploy to capture the maidens’ hearts, which manages to work even if they have no idea of what they are doing.

David Eaton, music director and resilient pianist remained cool under pressure for a demanding and jolly score considering numerous catchy group choruses.  And Phipps-Davis’s dramatic and self-indulgent ‘Bunthorne’ is an easily likable character given his skill for accentuating every syllable and vowel. His voice, 17^th century attire and wig thanks to Carrie Edwards gave him some note worthy praises.

Payne’s ‘Lady Jane’ is a frustrated devotee of Bunthorne who sing lavishly about her insecurities regarding her appearance whilst considering opening a bag of Walker’s crisps. Yet she manages to make the audience giggle through her woes and received the most applause. Whilst in Act 2,  Skillett stares into the audience as innocent Patience through her eloquent singing which drags viewers out of the jolly mood for a moment of sorrow.

If you want to see a comedy show laden with jokes that will uplift your spirits, look no further. There are special scenes including Archibald succumbing to Burnthorne’s moaning that result in a re-vamped Archibald with baseball cap, jeans and a funny South London. He enters accompanied by the once Goth-like Evora and Tweedale who turn into chavs operatically referencing  ‘TK Maxx‘ and ‘Sports Direct.’ This opera pokes fun out of the old-day version of our modern day hipster and EMO personalities. There’s no need to like poetry either to enjoy the performance, so happy frolicking!

This production has ended, but please click here for more shows and information on the Kings Head Pub.