By Matilda Collard, Third Year English
On Wednesday 12th November, I had the privilege of watching Bristol Opera Society’s TB1 production of Dido and Aenneas in the Pegg Theatre. Intimate and moving, the piece was a beautiful display of student musical talent and the joy of live performance.
The choice to perform a Baroque Opera (containing only a very small string orchestra and a piano) in a small venue such as the Pegg was a genius move by director Marco Mazzarella and producer Trinity Wilson, as the intimate nature of the venue fostered a deeply personal connection with the production, drawing us into the world of the piece. The orchestra, Musical Directed by Ryan Power, was incredibly together and precise, providing a safe and solid musical foundation on which the performers could build. The piece had a clear vision and aesthetic which was coherent throughout and easy to follow; so that the whole production had a real sense of unity and togetherness.
One of the things I admire about BOpS is its commitment to encouraging absolutely everyone to get involved with its activities. One of the ways in which they accomplish this is through an un-auditioned chorus in every production, who can take part simply because they’re excited and passionate about this art form. This brings a level of unadulterated joy which is difficult to find elsewhere, actors who wish to perform without the need for solos or spotlights, but simply because they love to be there. This shone through in the chorus of Dido and Aeneas, where it was so clear how much fun the ensemble was having whenever they appeared onstage. The vibrant dynamics and relationships between the chorus members added a life and soul to the piece.
The principal cast all shone in this production. The piece opened with the beautiful voices of Mayuri Swaminathan and Cecelia Koç as Dido’s attendants. Both were stunningly emotive in these roles and their voices blended together beautifully, creating an intricate blanket of sound. They navigated difficult recits and intricate passages with ease.
The malevolent witches, played by Angharad Jones and Ella Skipsey; and their cunning sorceress, portrayed by Leah Page, were fabulously wicked as the antagonists of the piece. Donned in black leathers and iconic ‘Kiss’-esque makeup, this trio emulated the Witches from Macbeth, and the Unholy Trinity from Glee in equilibrium. These three collaborated beautifully as a trio, weaving their voices together in a manner both stirring and unsettling. Page particularly, as the leader, expertly handled a very demanding vocal score. It is always so impressive to see students attempt to tackle such complex and mature material, and this cast absolutely excelled. These moments of darkness were played with a campness which was fun and enjoyable, without seeming over the top, and were tied together with some very effective moments of ensemble performance. Use of physical theatre to transform into the demons and twisted creatures of evil, combined with a brilliant lighting design, was very impactful.
‘The jorts and bedazzled Docs combo were also an absolute treat for the eye!’
The piece was ultimately brought together by the two leads. James Outtrim brought a high level of nuance and intricacy to his performance as Aeneas. Aided by the intimacy of the performance space, we could absolutely see every distinct and subtle acting choice which accumulated in a deeply tortured character delivery. Married with a powerful and emotive vocal performance, handled with elegance and musical precision, Outtrim drew us into sympathy for Aenneas’ impossible conundrum and heartbreak at its tragic consequence. The jorts and bedazzled Docs combo were also an absolute treat for the eye!
But if I had to single out any one cast member for their performance, it would have to be Cate Du Toit, who absolutely shone in the role of Dido. Dressed like a diaphanous angel, and with a voice to match, Du Toit delivered a stunning and completely devastating performance. Her voice swelled with emotion in every phrase and had a richness to it which absolutely enveloped the theatre. Her performance was completely breathtaking. The standout moment of the show for me was unequivocally ‘Dido’s Lament’, where Du Toit’s supreme vocal and acting skills reached a pinnacle, cumulating in a devastating finale. The use of glitter to emulate blood was ingenious, creating a deeply evocative and haunting image which lingered even through the bows sequence.
The chemistry between Outtrim and Du Toit was beautifully conveyed, and their voices melted together in a stunning blend which seemed to blanket you. The pair were a triumph in acting and vocal performance, and brought a new, youthful interpretation to the piece.
‘Dido and Aeneas’ was a typical BOpS production. An excited, enthusiastic ensemble, a standout principal cast which rival professional standard, and a series of new and inspired directorial decisions that drag this art form out of the past and into the future. The piece was filled with joy and passion, as well as tragedy, and it was clear how much the cast loved what they were doing. It’s so wonderful to see this society bringing joy and fun to an often-dismissed artistic medium.
Featured image: Griff Harvey
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