I don’t think words can describe the emotions I felt when I first walked into Tewkesbury Abbey and saw the set (my set!) for Britten’s opera Noye’s Fludde at the Cheltenham Music Festival. I had arrived early for a day of dress rehearsals in advance of the performances. The pressure was on. The Guardian newspaper, amongst others, were coming to film the rehearsal and interview the team, and there was so much to do. But that quiet moment was all mine. And I will not forget it.
By the time of the first performance on July 3rd, the production had been developed in all sorts of exciting ways, which included me wearing green face-paint and diving (almost literally) into the action as a stage hand, whose responsibility was to drown the gossips in the flood! So not only was this my debut as a set designer for an opera, but also my debut IN an opera!
The setting of the Abbey, the festive atmosphere, the warm audiences all contributed to something very special. For me, seeing something on this scale through to fruition was overwhelming at times. Together with the singing of both the soloists and the magnificent choirs, and the enchantments coming from our deep-sea orchestra, it was truly, profoundly moving. The sense of a community coming together, the joy on the faces of the children involved, the sheer scale and volume of sound took one’s breath away. When the audience/congregation joined in with “Eternal Father Strong to Save”, it was a tidal wave of sound; the production and the opera was inclusive theatre in a way I have never really experienced before. What a wonderful and unique work Britten created!
Yet it was the gentle, forgiving end, sunlight pouring through the strained glass windows, with the choristers and handbells fading away, that touched the deepest. The entire cast formed a dazzling pageant of animals and colour and life and celebration, and as they left the abbey the bells rang out and they lined the sunny oak-leaf strewn avenue outside to greet the audience. Oak leaves were a strong symbol throughout the production, from the dove’s nest that represented the ark, to Noah himself – the Tewkesbury green man. Even the olive branch was a sprig of real oak, placed by a dancing dove in the beak of the figure-head.
The biggest joy for me was working with and making good friends with all the remarkable people involved. Meurig Bowen, festival director, is a wonderful man. He had the courage and the vision to put the opera on and his faith in me (and everyone else) made everyone go the extra mile I think. His wife, Rachel, was the choral director, and the results of her brilliant hard work were completely sublime. Edward Derbyshire has become a great friend through our many conversations. Intelligent, imaginative, creative, daring and with a great sense of humour, he has encouraged me in all sorts of new and different directions, and the way he choreographed 150 children with only a few rehearsals is simply the work of a genius. We were lucky to have the technical expertise of Andrew Neubauer too, always full of ideas. And Tamsyn and Niki who pulled all the necessary strands together. The pianists, Ben the assistant conductor, the brilliant Carducci quartet, and Glyn Oxley, principal conductor of the Gloucester Youth Orchestra: I have nothing but praise for all of them.
Then the cast! It’s not every day you find yourself painting the near-naked torso of an international opera singer! Donald Maxwell was wonderfully game and proved an authoritative God, a malevolent stomach redeemed by a benevolent back, mirroring the great golden banner that showed the two sides of God.
All the cast were excellent, including Jessica Dandy as a sulky (but then redeemed) Mrs Noah and local school children for Noah’s children and wives. I had the very good fortune to share my accommodation with baritone Philip Smith. I doubt if there is anyone more perfect for the role of Noah than this wonderfully warm voiced and big-hearted singer! He radiated goodness and authority, and was every bit as charming off stage as on. A lovely man with a fabulous talent.
And here are pictures… memories of a huge team effort and a life-changing event. The children who took part will never forget it, I’m sure. And neither will I. My thanks to everyone who contributed and took part and came and joined in. What a truly exceptional music festival Cheltenham has served up! Whatever else takes place this year to celebrate Britten’s 100th birthday, I don’t think anything will quite equal the joyous celebration of these performances.
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