Tuesday, October 26, 2021
Satyagraha @ London Coliseum...
It was as fantastic and moving as it was the four previous times I had seen it.
It was brilliantly hypnotic. Jaw-droppingly wonderful. In has to be in the top ten best things I've seen on stage.
The opera is in three acts for orchestra, chorus and soloists. It was composed by Glass, with a libretto by Glass and Constance de Jong. It's loosely based on the life of Mohandas Gandhi. The term satyagraha is the philosophy and practice of nonviolent resistance developed by Gandhi himself.
Act I. Tolstoy
On the Kuru Field of Justice
Tolstoy Farm (1910)
The Vow (1906)
Act II. Tagore
Confrontation and Rescue (1896)
Indian Opinion (1906)
Act III. King
New Castle March (1913)
Philip Glass's music is simply glorious: those repetitive patternings shifting and shining with ingenious rhythmic and melodic ideas, interlocking, overlapping, yet ever calm. But it was the staging that made the night so wonderful. So enchanting.
The original director of the piece was Phelim McDermott (Shockheaded Peter) and Julian Crouch is the associate director and set designer. Boy, did they do an amazing job. The revival director is Peter Relton and he has recreated McDermott's magic.
All three acts take place within an arc-like wall of curving corrugated iron. Within the slow waves of music and human movement, an ensemble of acrobats and puppeteers conjure miracle after miracle. Newsprint looms large: there is a ubiquitous whispering of newspaper as sheets are shifted, read (the founding of Indian Opinion was central to Gandhi’s work) — and then, almost imperceptibly, formed into gigantic papier-mâché puppet-figures of gods, beasts and politicians.
High in the iron wall, windows disclose the three iconic figures who watch over the three acts: Tolstoy, Tagore and Martin Luther King.
The beauty of the sung Sanskrit is bewitching: sober sepia projections of key passages replace supertitles; but verbal comprehension isn’t really the point. Although it would be inappropriate to single out individual performances in a work that has so little to do with conventional operatic glory, Sean Panikkar’s central performance as Gandhi is a masterpiece of compelling clarity and absorption. Conductor Carolyn Kuan demands a special mention too.
As the last act unfolds, the great wall buckles and disintegrates, leaving a miming silhouette of the preaching King high on his plinth, and the diminutive figure of Gandhi below, singing a simple rising scale — no fewer than thirty times.
Stand out moments of the night for me were:
- the amazing floating coat hangers and the equally amazing floating lights lifted up high above the stage
- the weaving and crumpling up of a huge web of Sellotape to produce at first a barrier, then a giant puppet man then an image of Gandhi himself
- the long newspaper streams across the stage that became first another barrier, then wings for Gandhi and then again sky-high banners for projecting words all in one fluid motion.
Image after image is etched indelibly on the memory, in its masterly fusion of the aural and the visual. If you ever get a chance - go see.