Samuel SimsI can’t think of a more perfect setting for such a disturbing and dark opera than this one: Peckham’s eerily atmospheric Asylum, which sits idly and, quite frankly, oddly in the middle of a series of occupied houses.
Clive and Other Stories is a triptych of mini operas, around half an hour each, by emerging opera-makers Gestalt. Founded in 2012 by Artistic Directors Ruth Mariner and Toby Young, the company aims to create a community that connects artists from various backgrounds – previous efforts have been held in conjunction with the London Symphony Orchestra.
Each story is significantly surreal with Matthew Lee Knowles’s Clive – a story about a young, fragile man (Jack Lawrence-Jones) who is confined in a small space and terrorised by his overly blasphemous sister (Alexa Mason) and manipulative nurse (Camilla Bull) – being the most nightmarish. Mason’s frequent use of the word “cunt” is rather refreshing and delightfully risqué, giving what I felt to be an ever-so-important contemporary feel to the art form.
The other two stories, A Sign in Space and Adrift, written by Arthur Sawbridge and Shaun Gardiner respectively, are random but ultimately clear and original ideas. The most impressive features of all three operas are Carys Beard and team’s alarmingly beautiful set design and Yuriria Fanjul’s movement – particularly in creating ‘waves’ for Adrift. The lighting in particular manipulates the venue very well, though I was dying to see some use made of the exquisite stained glass windows that litter the walls. Musical director William Cole has created a beautiful and very eerie interpretation that reminds me of the film Under the Skin. It made me feel excited but very unsettled.
There are clear, stand-out performances from Oliver Brignall and Maud Miller, specifically in Adrift where they create heart-wrenching and emotionally mature performances with beautiful voices to match. Felicity Turner’s narrator in A Sign in Space also does a great job in maintaining the large audience’s attention. Whilst having an interesting part in Clive, I can’t help but feel that Alexa Mason is distracted by the crowd and doesn’t focus nearly well enough on the mindset of her character.
Whilst most of the event is done to a professionally high standard, the company’s organisation, which obviously contributes hugely to the overall experience, is quite frankly poor. Preceding the show, actors could be seen outside the venue in full dress and out of character, and despite claiming many more people than expected, I still did not appreciate having to stand and sit on a cold, hard floor for an hour and a half because there were not enough chairs.
Overall, Clive and Other Stories boasts some great on and off ‘stage’ talent but, professionally speaking, the company fall way short of the mark. There’s huge potential but unfortunately it seems as though the company don’t work hard enough to generate a well-rounded experience in all areas.
Clive and Other Stories played at the Peckham Asylum until 9 June. For more information see the Gestalt Arts website.