Two years ago Charlotte: A Tri-Coloured Play with Music was presented in workshop form (more or less) at Luminato. It felt incomplete and rather muddled then and I didn’t write about it. I saw the latest version yesterday at Hart House Theatre and it feels like a finished piece; indeed a rather accomplished one.
It’s a genre defying work. Perhaps it’s closer to musical theatre than anything else but it’s not miked and there are some “operatic” moments worked into the plot. Indeed there are some very funny musical moments and much cleverness in Aleš Březina’s score and Alon Nasman’s libretto.
Sometimes it takes some time away from home to be able to see things clearly again. That’s rather how I felt about last night’s Messiah performed by Tafelmusik at Koerner Hall. In the last few years I’ve seen choreographed and fully staged versions, the Andrew Davis version with sleigh bells and whoopee cushions and Soundstreams eclectic Electric Messiah, all of which helped bring a conventional small scale performance with period instruments into focus.
Last night saw the final performance of the COC’s run of La clemenza di Tito. I had seen the Ensemble Studio performance a couple of weeks ago and really enjoyed it but had some questions and reservations about the production. Last night many of those issues were resolved. It seemed more closely directed and the characterizations were more fully rehearsed. A good example of this would be Michael Schade’s intensely neurotic Tito which was central to the concept. Many things make sense if one sees Tito as being in love with an idea of himself. In this context his betrayal by Sesto is particularly hurtful because it implies that his closest confidante isn’t buying it and his “clemency” is necessary to restore his faith in his own self-projection. This Tito gives Robert Gleadow’s Publio space and reason to be more than the dutiful, rather thick plod. He’s the one who has seen through Tito but must “play the game”. His final, rather sharp, exchanges with Vitellia suggest a genuine capacity for malevolence. This is, after all, an Imperial Court, where by definition life is dangerous and nothing what it seems.
Last night saw the COC Ensemble Studio’s annual main stage performance. This year it was Mozart’s La Clemenza di Tito in a Christopher Alden production. It’s a somewhat quirky production that I haven’t fully digested yet and may need to wait until after seeing the main cast on the 22nd to come to a more considered view. My initial reaction is that it has a lot of interesting ideas, maybe one or two misguided ones and that the whole thing, while interesting, isn’t completely coherent. That said, Alden productions often seem more coherent second time around. And whatever I might think of the production, it didn’t distract from some very fine performances.