What is in Kelvin's Head?

Pagliacci – Scottish Opera ****

28/07/2018

Paisley Opera House (aka a tent on Seedhill Playing Fields in Paisley)

Scottish Opera’s summer show in Paisley is a completely immersive bundle of fun that manages to be innovative and hugely entertaining.

It isn’t difficult to see where the idea of putting this show on in a big tent comes from. Pagliacci (The Clowns) is all about a troop of performing players coming to town. It just happened that this troop had turned up in Paisley and were putting on a show for a local gala day – the Sma’ Shot festivities.

There was a strong sense of local festival as soon as one entered the tent, with a range of sideshows – a magician, fortune teller and a real Punch and Judy show alongside games like Pin The Tail on the Donkey. It was a brave decision on the part of Scottish Opera to have an actual donkey wandering around too, given the recent debacle of the Eugene Onegin’s horse. However, no-one disgraced themselves and a good time was had by all, not least the three people who won the raffle and got to conduct the orchestra in some well-known operatic overtures.

By the time the singing started, it felt as though the show had been going on for some time.

With all the fun of the fair going on all around, the danger was that the singing might not matter that much. Fortunately this was a strong cast and in fact the singing was excellent. Particular praise must go to Ronald Samm for his utterly superb Vesti la guibba that ended the first act. The fact that he was surrounded at close quarters by the audience, who were invited to move about the tent to wherever the action was, didn’t distract him from an astonishing display of heartbroken anguish.

A huge chorus of both amateur and professional singers were mingling with the audience throughout most of the production and it was genuinely thrilling for the singing and the action to break out all around you as you tried, generally unsuccessfully, to work out what might happen next. High points included the entrance procession of the players and the sudden, stunning reveal of the stage (made out of a road-truck) for them to play on in the second half.

It is to the director, Bill Bankes-Jones’s credit that the pitiful tragedy of scorned love was perfectly balanced with the comedy and high jinks of a show that was hell bent on blowing away even the most jaded cynicism. By the end of the evening, what had we witnessed? A fun filled tragedy? A comedy beset by human misery? Both, surely, and more.

One hour 40 minutes is a bit long for a promenade performance, particularly as the audience didn’t move about quite as much as I suspect they were expected to do on what was a very hot July evening. However, the standing about all felt well worth it for a surprise summer hit.

The Orchestra of Scottish Opera were about the only ones who got to sit down all night and, apart from some repeated split notes in the brass section were on generally good form under Stuart Stratford.

All in all it seems like a shame that this show will play for a run of just three performances. It was an enormous effort for a relatively small audience and could easily have sustained a longer run.

The troop of performing players that rolled up into Paisley done good.

Done very good indeed.

Rating:

This review first appeared at Scene Alba:
https://www.facebook.com/scenealba/posts/2091329810937212

Pagliacci, Paisley, review, Scottish Opera

6 responses to “Here or there?”

Gary

01/04/2007

Up there. High altar. No doubt.

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Tom Allen

01/04/2007

I am very much with Richard Giles on this one – there should liturgically only be one main altar – ideally this is achieved by romoving the former High altar and dedicating that space to some other purpose – where that is not possible as in historic cathedrals then it should be left dormant (covered in a simple cloth perhaps) and only the altar which is being used for worship should be dressed since this is in fact THE altar.

Despite all the reservations about removing former altars in the end it solves long-term problems, and provides a single visual focus for Eucharistic worship. At times when a high altar is needed then the new altar can moved there.

This kind of fuzziness illustrates that our liturgical practice has become dominated by hertiage criteria.

I am about to replace our main altar with something moveable and aesthetically more appropriate, but am facing a Registrars ruling that the current altar (and former eastward facing number more recently provided with wheels and moved to the chancel!) must be burnt, and that the wood frontal cannot be used for a screen.

Dont’ we get ourselves tied up in knots!
Tom

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Stewart

01/04/2007

A thought came to my mind this afternoon. At the Creed we all face east. This results in the choir turning their back on the Nave Altar and in most cases put the High Altar in their sight.

Considering Tom’s comments, another thought thinking about some English Cathedrals which have multiple altars around the building, it is not usually possible to see more than one at a time. Some have a chapel behind the High Altar – behind a screen.

Turning back to St Mary’s – all the action at the 10:30 service is centred and focused around the Nave Altar. However there is still the High Altar, the Pheobe Traquair Reredos and Gwyneth Leach mural of Our Lady at the East End. To my mind their presence enhances the worship around the Nave Altar and does not detract from it.

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Andrew

02/04/2007

The Altar is a table, where we commemorate a meal together. Clearly (to my mind) we should all be sitting round it, as we do (more or less) at present. The table reminds me that Jesus instituted the Last Supper when he was among us (HERE), not somewhere else (THERE).

I very much hope that the Altar in St. Mary’s can be left where it is.

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kelvin

03/04/2007

It seems to me curious that the practice that I inherited was to light and dress the high altar whilst using the nave altar. It makes no sense, except perhaps to highlight St Mary’s puzzling parallel worlds of deep conservatism mingled with radical liberalism.

Whist tending to agree with Andrew’s sentiments, it is worth remembering that the nave altar could hardly be said to have stayed in one place these last 20 years.

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Elizabeth

17/04/2007

Here. Both. Loving the paradox.

But maybe I only say that beccause the only church I’ve regularly worshiped in where there are clearly two visible altars is St Mary’s and that’s what I’m used to. I’ve never found it distracting that the high altar is dressed and lit, even though the nave altar is where the action is, so to speak. But then, would I notice if the high altar wasn’t dressed and lit? Probably not.

I do love the nave altar, peripatetic as it is!

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