The Old Maid and the Thief, and The Telephone
When I was growing up there was a company called New Opera that presented smaller, more intimate operas that were not financially viable for larger companies.
These are precisely what Mopoke Theatre Productions stages. Artistic Director Nicholas Cannon founded the company in 2014 to support local new and emerging artists through the production of high-quality, small-scale performances which are accessible to the community.
Mopoke's productions feature local artists, offering progression opportunities for young and developing performers, musicians and directors.
Mopoke aims to create exciting and enjoyable theatre and musical works. They are proving to be a force to be reckoned with, especially in their latest production The Old Maid and the Thief and The Telephone both by Gian Carlo Menotti.
The Telephone was written in 1947 and is scored for 2 singers and a chamber ensemble, (although this production only uses a piano exquisitely played by Musical Director Sachiko Hidaka).
The short opera centres on a telephone (essential to our everyday lives, but the bane of real-world relationships) and asks the question, do we spend so long on this seemingly alluring device that we ignore those dearest to us?
In The Telephone Lucy and Ben are two young lovers squeezing in time for a swift drink before Ben must dash for his train. He’s about to pop the most important question in his life – but can he compete with the relentless demands of Lucy’s mobile phone? He leaves Lucy’s apartment and, adopting the strategy “if you can’t beat ‘em, join ‘em,” succeeds in proposing to Lucy over the telephone from a nearby phone booth.
Director Macintyre Howie-Reeves has set his conception of the opera in a simple but effective set with a retro feel, blue walls, doors with glass inserts that lead to the garden and of course the ubiquitous phone on the coffee table dominating the set.
Howie-Reeves has cast well with Jessica Mills as Lucy and Nicholas Cannon as Ben. Both performers deliver rock solid performances. Mills has some difficult telephone conversations that she handles with ease and Cannon is the perfect, slightly geeky, frustrated boyfriend. Experienced performers, they add realism and comedy to the opera and have a wonderful chemistry together.
The second part of the program is Menotti’s 1939 masterpiece, The Old Maid and The Thief. First broadcast on April 22, 1939, the opera was commissioned two years earlier by Samuel, Chotzinoff, music director at NBC. In February 1941, the Philadelphia Opera Company staged the work, which was broadcast on television in May 1943.
When Miss Todd takes in a stranger, Bob, both she and her servant Laetitia are attracted to him and convince him to stay for a while. Rumours of an escaped convict in the area make them believe the mysterious man they shelter is a thief. Ironically, the women begin stealing both money and liquor as presents for Bob, hoping these will make him stay with them. When things become too complicated, Miss Todd decides to go to the police and turn in the "thief" staying with her. While she is gone, Laetitia convinces Bob to take Miss Todd's car and leave town with her.
Director Nicholas Cannon has devised a continually changing set to represent the street, the liquor store, Miss Todd’s house and Bob’s bedroom, all changed by the cast and lit by Tom Hannagan (who also lit The Telephone). Cannon wisely brings out the comedic aspects of the opera and keeps the pace moving at a rapid rate. This is a slick production, well-rehearsed and full of nuance.
At an hour long, pianist and Musical Director Penelope Cashman breezes through the intricate score bringing out Menotti’s lyrical lines.
The score is full of wonderful ‘pieces of business’, the mirrored stirring of tea cups, the long length of telephone cord and the clever reveal of the liquor store.
Catriona Barr gives us a Miss Todd who lives a sheltered life and not at all used to surprises. She lives on her nerves and prefers the peaceful life. Unfortunately, there were times when her lower notes were lost under the accompliment.
Macintyre Howie-Reeves’ Bob leaves us with the question that forms the basis of the opera, “Who is really the thief?”. His diction is superb.
Jessica Mills’ Laetitia is cheeky, playful and a great foil for Miss Todd and Bob. She combines her acting skills and singing voice to produce a well-rounded character.
Rachel McCall’s Miss Pinkerton is the archetypal nosy neighbour who just can’t keep a secret. She is the neighbour we love to hate.
Special mention to James Nicholson’s period perfect costumes. I particularly liked Lucy’s costume from The Telephone.
Mopoke’s production of The Old Maid and the Thief, and The Telephone gets us ‘up close and personal’ with two intimate operas produced with style and talent, and well worth the trip to the State Opera South Australia’s studios!
Barry Hill OAM
Photographer: Alex Craddock
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