Opera is for everyone. That’s a statement made by a lot of companies now. But is it? Upon seeing The Paradis Files at the Royal Welsh College in Cardiff, after a medium-sized tour around the UK, I can firmly say it remains perhaps the most inclusive piece of theatre I’ve ever seen.
The story of Austria’s Maria Theresia von Paradis is a curious one. Becoming blind in childhood, her talents would grace the piano, classroom and sheet music. Yet much is still unsure: her most famous piece, Sicilienne in E-flat major, might not have even been written by her, and some pieces are still lost to time. The story focuses on the turbulent relationship with her mother – Hilde, The Baroness von Paradis – and like her life, the story is fragmented; more focus on her mum should have been added, even with what we saw.
The experience is tinged with sadness: blindness that could not be cured (with agonising failed experiments), the loss of a baby and an exhaustive family dynamic. Mozart and Salieri dedicated some piano concertos to her, though the latter is seen here purely as a sexual predator. Bethan Langford shines as Maria, her voice rich and ringing out into the compact theatre.
Director Jenny Sealy has brought all these elements together with ease in a simple, effective staging. Much attention has been given to sign language, audio description and subtitles, components that never obstruct the busy stage, but complement the experience. The signing transforms into a form of choreography; the libretto liberates the audio-described trappings, becoming almost Brechtian, and Ben Glover’s video work for the surtitles was attractive and snappy.
The score, by Errollyn Wallen, is highly appealing, incorporating nods to the work of the story’s era, English music hall and the relentless exercises of piano practice. The backbone of the work is grand piano, filled with scales, tone clusters and a floral romanticism. A small posse of musicians are unassuming – introducing themselves like the cast at the start, yet they make a large, often alluring sound. Conductor Andrea Brown kept the ramshackle feel together with depth and drive.
The tone of The Paradis Files story is mostly miserable – with smatterings of humour thanks to the Gossips, a Greek chorus who keep us arrest of the synopsis. Maureen Brathwaite’s Hilde is a force of nature, subtle and intimidating; Ella Taylor, as wisecracking maid Gerda, almost steals the show, along with the fluid performance interpreters Chandrika Gopalakrishnan and Max Marchewicz. We could have seen more of father figure Joseph aka The Baron – played by a well-equipped Omar Ebrahim, among his other roles – while Ben Thapa perverted as Salieri and put on airs as a quack doctor. Andee-Louise Hypolite also joined the rest as a Gossip and a Doctor, wrapping up the fine ensemble effort that went into this.
Though the story may have left wanting (the libretto of Nicola Werenowska is a first-time effort), it was the immediate inclusivity and the cracking score that made this a fine evening. Other theatre companies should be taking notes.
Royal Welsh College Of Music & Drama, Cardiff, Thurs 5 May
The Paradis Files is also on Fri 6 May, then in Sheffield on Wed 11 + Thurs 12.
words JAMES ELLIS
Advertise with us.
We have a range of options across print and digital.
