Tag: MeTooart

I finished “Theodora”. It’s a three-hour opera in a production by the Royal Opera House. About Christian saints and martyrs Theodora and Didymus, who lived in the 4th century in what’s now modern Syria. On stage – prostitutes, pole dances, a bomb, essentially, the full package.

And yes, originally it’s not an opera, but an oratorio, meaning originally on stage there is a chorus that sings for three hours, and nothing else happens. In the production, however, the oratorio is decked out like an opera, plus a bit more.

In short. The plot. Briefly. Valens, the Roman envoy, forces everyone to worship Roman gods, and threatens to execute those who refuse. Theodora, a Christian, does not comply. Her lover, Didymus, secretly converted to Christianity, tries to save her by disguising himself in her dress. In the end, Theodora surrenders to the enemies to save Didymus, and both die as martyrs for their faith. Afterwards, they were canonized by Christians in gratitude.

The oratorio is in English. That’s unusual in itself. Well.. in English. “Vouchsafe, dread Sir, a gracious ear. Lowly the matron bow’d, and bore away the prize…”. English from three hundred years ago. I understood “Carmen” in French with subtitles better. But no matter, there are translations you can hold in your hand and glance at one-eyed, plus everything happens veeery slowly there.

So, what we have here. A classic plot on a religious theme. In Katie Mitchell’s production, they decided to break all norms at once, making the oratorio into an opera and also setting it in modern times. It turned out pretty cool, actually.

Katie Mitchell situates the action in, as they called in an Alicante publication, a “Putin-like” embassy in Antioch, where rooms function as a brothel. This is the first theatre piece to involve an intimacy coordinator for sex and violence scenes (Ita O’Brien).

Valens, the Roman envoy in Antioch, wears a red sweater. He hasn’t heard of the #MeToo movement, hence the brothel accommodates “comfort women” for him and his bodyguards. They in red lingerie dance on poles in the red room (kind of a striptease; Holly Weston and Kelly Vee).

Next, we are introduced to Septimius, Valens’ head of security. His task is to ensure that all citizens publicly worship Roman gods as a sign of loyalty. Otherwise – death.

Here comes Didymus, one of the bodyguards. Didymus used to believe in Roman gods but secretly converted to Christianity. He’s in love with the Christian Theodora, the head of the household staff at the embassy.

Theodora plans an assassination attempt on Valens with a homemade explosive. They actually assemble it on stage with duct tape and some stuff.

Septimius uncovers the conspiracy and defuses the bomb. Theodora’s punishment – she becomes a “comfort woman”. For this, they dress her up as Marilyn Monroe. Oh, actually, it seems more like Louise Brooks, but never mind, they look alike.

Then the drama continues with an escape, Didymus saves Theodora, then the other way around. But ultimately, as in all operas, things end up not very well, but specifically in Mitchell’s production, good prevails over evil.

The role of Didymus is played by Jakub Józef Orliński. He has a beautiful scene where he changes into heels and a shimmering dress, in which he continues to perform until the end of the opera.

Jakub has a rather unusual voice. He is a countertenor. It’s the highest male voice. After castrati fell out of favor – quite rare. Google it, his voice is very beautiful. I’ll leave a few links in the comments.

One of the scenes towards the end reminds me of the café scene from “Pulp Fiction”.

The first performance of “Theodora” was in London, at the Royal Theatre in Covent Garden in 1750, and this production 272 years later comes from there too. Quite symbolic. True, back then it flopped – almost no audience. But now, it’s a classic.