Surely a ‘Shoe’-in
Barefoot Opera challenge the notion that opera is elitist by producing high-quality, inclusive and accessible work, usually mixing professional singers with amateurs. Here director Jenny Miller previews their latest production.
Graffiti spray paints under the sofa, psychedelic flashing tower in the garden, getting a touch up, very loud singers in every room in the house –this is Barefoot Opera’s Young Artists tour. They are rehearsing locally in intense detail before taking the production to Maidenhead and Beaconsfield, wheeling back to Bexhill, and giving a school performance with Bexhill college students, before finally bringing in full community force to St Mary in the Castle – a perfect venue for this production.
This year Barefoot Opera intends, in a much more compact way, to combine our dreams of a singing town, a vocal community, with the glorious multi-art form that is opera.
We have seven professional singers, a tiny but brilliant professional band, a group of twenty-five community singers, and twenty-two young people from Bexhill College all converging on stage at St Mary’s on Friday 14 October. The opera in question? Rossini’s La Cenerentola, an exhilarating, comic and simply joyous version of Cinderella.
As director of Barefoot Opera over fifteen years, I can say this cast is one of our best: truly ravishing singing, glamourous voices, and some beautifully witty acting. Michael Spenceley of the Ballet Rambert and I have gone all out to encourage the physical theatre ensemble style which is our hallmark. Jane Bruce of Radiator Arts has created a design concept that brilliantly re-styles pre-loved pieces of set (we mentioned spray paints) and Natascha Stolle has transformed old costumes into something rich and strange – yes, this is an eco-production, waste not want not.
I spoke to Rachel Deatherage, our leading lady, who plays poor Cinderella, who does go to the ball and meets her Prince –
You have just sung this role in Vienna. What do you think defines Rossini’s character of Cinderella in particular?
Rachel: Well Rossini’s tale is much more focused on forgiveness and love than I think a lot of the other versions of the tale are. In the end Cenerentola implores her prince to forgive her family even though they are terrible and that is quite impressive.
What are the challenges for the singer in this role?
Rachel: Cenerentola has a large range and a lot of coloratura (which is when you sing a lot of notes very quickly). But she also requires honesty in your acting and a sort of range there as well, to go from the poor girl who shrinks away from her family to a self-assured and forgiving queen in a believable manner takes a fair bit of versatility.
Have you worked before with community and opera? What is your experience of this and what are the benefits?
Rachel: I have! At Opera Neo in San Diego we brought Hansel and Gretel to the Boys and Girls club. It was delightful! The children all stood up and helped Gretel teach Hansel different dance moves. It engaged folks in opera who otherwise may not have been exposed to the art form and that was thrilling to be a part of.
Where next for you Rachel?
Rachel: The sky is the limit! I have many auditions and applications all over Europe and the UK coming up to keep me busy. Generally, I will be home in Berlin with my cat when I can though.
• Barefoot Opera’s La Cenerentola plays at St Mary in the Castle on 14 October. Information and tickets at barefootopera.com
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