Would you save the Sodomites?

Everyone knows the official version of what happened when God got pissed off with Sodom and Gomorrah but is that what really happened? Old Soles Theatre Collective’s God Save the Sodomites, by Aliyah Bourgeault and Emmet Logue, playing in Native Earth’s Minogitoon Workspace Giizis Studio, gives us a different version. God wants Sodom (and Gomorrah… look we all know what the Sodomites were up to but what’s with Gomorrah?) smited/smitten? whatever but Abraham has nagged God to save Lot; the one righteous man in Sodom (maybe?) and God is fed up of arguing with Abraham (who wouldn’t be). So he sends the Angel of Wrath Af (Emmet Logue) and trainee Angel of October (and genitals) Barbiel (Aliyah Bourgeault) to do the smiting with the proviso that if they can find five genuinely good Sodomites they can spare the city. Af is unwilling to complicate matters and argues for instant smiting but Barbiel persuades him to at least look for the five worthy Sodomites.

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Another listen to Owen Wingrave

owenwingraveBritten’s Owen Wingrave is a curiously neglected opera.  It’s rarely performed live and the only recorded versions are 2 CD recordings plus DVDs of TV productions.  The earliest of each feature Benjamin Luxon in the title role and Peter Pears as General Wingrave.  The DVD version holds up surprisingly well for a 1970 TV production.  The later DVD version is also over 20 years old and features Gerald Finley in a, to my mind, ill conceived production for Channel 4 updated to the 1950s.  So I was interested to get my hands on a 2008 Chandos recording with Peter Coleman-Wright as Owen.

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Paramore revisited

Great though my admiration for Benjamin Britten’s music is I wouldn’t consider him a creator of memorable female characters.  There’s Ellen Orford, of course, but one struggles to find a Tosca, Lucia or Violetta in his oeuvre.  I open with this because what struck me watching the 2001 Channel 4 film of Owen Wingrave for a second time was how generally unsympathetic the female characters are.  This is an opera with a female librettist (Myfanwy Piper) and the film has a female director (Margaret Williams) yet, with the exception of the fairly ineffectual Mrs. Coyle, the female characters embody an unthinking militarism and behave with extreme malevolence towards Wingrave; none more so than his “girlfriend” Kate. The filming reinforces this with close up scenes of groups of the women spitting venom at young Wingrave.

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