Sydney (Part 2) and beyond

It occurs to me that I haven't yet finished my ruminations on my Sydney trip and the subsequent Adelaide performance of Mahler 8 so I think I need to finish that part of my blog before I can officially "move on".

When I last wrote about the trip I was almost at performance stage. I think it was on the Thursday of our first performance. I wasn't feeling very well- my throat had finally succumbed to the humidity and constant singing of the week. However- I made it through our first performance and was relatively happy with the both my own performance and the performance as a whole. There's something very special about singing in the Opera House. It may not have the nicest acoustics, the lights look like giant toilet seats, and the seating looks very 70's, but it is still an amazing experience.

On the Friday we did a what is known as a "patching call"- where any bits that didn't quite work we resang to an empty auditorium (the performances were recorded for a cd to come out later). During the run of that my voice completely went dry and I started coughing. I went home early and rested. Fortunately by the time the following night rolled around I was ready for action.

It was a major event in my life. After the nearly 90 minutes running time the Sydney audience leapt to it's feet and cheered as one. It reminded me of standing onstage at the end of the Ring cycle in 2004. Just one of those moments that lives with you forever I reckon.

So the musical side of the trip was definitely brilliant. Working with the SSO and Vladimir Ashkenazy was an amazing experience. I don't know if I'll ever have that experience again to be honest. The professionalism of those involved was wonderful, and we were- for the most part- treated wonderfully.

Probably the only downside for me was the expense of it all. We didn't get paid for anything and we did this off our bat. The public transport costs alone for the week amounted to $120! Not to mention buying meals, cough lollies, etc. This was really the only downer for the trip (well, that and my voice caving in on the Friday then getting all those lovely blisters).

Arriving back in Adelaide, we went back into the final rehearsals for the Adelaide performance. It's hard to go back a step having had such a buzz in Sydney. many of the touring party felt like it was superfluous.

The Adelaide performance was a lively and energetic one. Arvo Volmer had a great concept of the work (even if a little hurried), and the ASO were as good as the SSO. The soloists were perhaps not as strong a lineup as in Sydney but they were still good.

The only letdown was the venue. The Adelaide Entertainment Center is great for rock concerts, Disney on Ice, WWE wrestling and the like, but for the nuance and dynamic contrasts of Mahler (or any work from the classical repertoire) it was like playing in a tin shed. Funny, because that's exactly what the AEC is....

Oh sure, they used mics and foldback but it was just not the same as the feeling of hearing the organ rumble under your feet and this sense that you were part of a greater whole. Instead it felt like there was me, about five people immediately around me and an orchestra in the distance. It was a bit of a shame really.

One thing though that Adelaide did have over Sydney. A decent cast party. Yup- in Sydney the choir had to buy their own drinks and food at the thank you party put on by the SSO. That's right- NOTHING was free. (Apparently we were supposed to get some photographic souvenir from the event but it hasn't shown up yet- two months after the event). But at the Adelaide gig we got free drinks and nibbles. Wine, champers, Coopers, Soft drink, all free.

On looking back over the whole thing I feel immensely proud of myself for the effort I made in learning this work. It's an amazing piece of music- one I never thought I'd sing. I will walk away from this whole experience with the joy of Mahler renewed in me yet again....

...not that it ever left me to begin with.

Dear Sir Andrew.....

Sir Andrew Lloyd-Webber

C/o The Really Useful Company

22 Tower Street

London

WC2H 9TW

Dear Sir Andrew,

You don't know me, but I have been a loyal follower of yours since my mother bought home the original London Cast recording of "Evita" when I was barely 6 years old (You know the one?where the lady playing the title role gets second billing to David Essex?). I also doubt I am the first one to say that your musicals inspired me to become involved in theatre. Living in a relatively small city you probably haven't heard of (it's called Adelaide, in Australia. Google it if you're not sure) I have found myself conducting and taking part in the vibrant theatre scene here. This has meant conducting your shows and watching several more. We have some pretty talented people down here who often have some great ideas for pepping up older shows (just keep an ear out for an upcoming production of "Superstar" where the leads may or may not be female. No I'm not kidding. Jesus as a female. Think about that for a moment.....) so I'd like to think that I could help you with "Love Never Dies".

Now I must say from the start that I'm not going to slag it off. I don't mind it all (and that's without seeing the show) but I do feel that there are some corners and problems that maybe you and your production team might want to reconsider should you decide to take the show back to the workshop (so to speak) ahead of the Broadway and Australian runs. Now I'd never pretend for a second that I know more about what makes a good show than you do- you're the one with the knighthood and rather posh house after all- so whether you regard these suggestions or not I leave entirely up to you.

Firstly, this show is set 10 years after the original "Phantom". When Michael Crawford first performed the role he was 44. Ramin Karimloo was 31 when he premiered in "Love Never Dies". Oh, I know he also sang in "Phantom" to great acclaim, and I'm quite happy to accept that Phantom might be in his mid-thirties in "Phantom"...but surely it would be amazing to have someone sing the Phantom who actually LOOKS like he's had the life experience and sounds it. Did you see Anthony Warlow in "Phantom" recently??? He'd totally own Karimloo in "Love Never Dies" and he'd pull off the role with enormous punch. Can't wait to hear him sing "'Til I Hear You Sing Once More". On that same point, why does Christine STILL sound like a young and naive teenager? Surely she's had slightly more experience after ten years of marriage to Raoul? Yet again, you pick someone extremely young to play her in the show (both Sarah Brightman and Sierra Boggess are/were around the same age when they premiered their respective Christines). I think you seriously needed to get older people in these roles. Maybe think back to great Phantoms and Christines of the 90's and see what they can do? On the plus side, it's great to see Meg Giry get a much meatier role this time around and play, along with her mother, such a vital and important role.

As far as the music itself goes I generally found the music to be melodic and well written with two exceptions. Your song "The Beauty Underneath" sounds like a cast off from "Whistle Down The Wind"- not really in the same style as "Phantom". Why you quite chose this style for this particular number in this particular show I'll never quite know. I'll also never quite know why you chose to musically end the show the way you did. To have a flute line that just peters out to nothing (and not even on a tonic note) seems a really bizaare way to bring the curtain down. Mind you, given your track record of ending shows like Superstar, Evita and Woman In White- and indeed the original "Phantom"- on a quieter and unfinished chord it perhaps shouldn't be too surprising. I can't help but wonder if you're paving the way for a third and final entry? Believe me Sir Andrew, I have defended your musical honor more times than I care to imagine. I still believe your scores for "Aspects of Love" and "Sunset Boulevard" are two of the finest compositions you have ever written and musically as rich as anything written by Broadways finest.

In conclusion- as I know you are an extremely busy person, as is your publicity person who'll probably be the one who actually reads this- I hope you take the time to tinker with this show. There is a lot more to recommend this show than others might have you believe. I'm also quite happy to waive any rights, fees or royalties for my services today- think of it as a tiny thank you for all the years of enjoyment your shows have given me- and hopefully will continue to give me.

Yours,

Rodney