Photo courtesy of Cecilia Darker Interview with John Savournin Director of Charles Court Opera Conducted by Mary Couzens John is currently performing with his company – Charles Court Opera at the Rosemary Branch Theatre's 10 th Anniversary season of Operas! He stars in Gilbert and Sullivan's H.M.S. Pinafore and, by popular demand, a return engagement of the G & S comic hit, (in a refreshing new take) The Mikado. In addition, Charles Court's Director also performs with Minatour Music Theatre in Mozart's Don Giovanni!
Mary: Hi John. You are the director of a very talented group of performers called Charles Court Opera. Could you please tell our readers a little about your background, and how the company got started? When was it formed?
John: Since as far back as I can remember, I have been surrounded by and involved with theatrical performances, with a particular leaning towards the Gilbert and Sullivan repertoire. My mother and father are both singers, and my mother is also a director, so you could say that it runs in the blood. I trained as an actor with LAMDA before taking the decision to further my musical training in London. Charles Court Opera (CCO) was formed in spring 2004, to pilot a production of "Cox and Box" by F.C. Burnand and Sullivan - a half hour farce about the antics of a slightly 'dodgy' landlord - at Trinity College of Music, where I was, and still am, studying voice.
Mary: How many people are in the company? Could you tell us a little about them? (where you met, etc. if you haven't already done that!) What/where was your first engagement, and what was that like for you? What opera/music did you perform?
John: Following the success of that "Cox and Box", David Eaton (our musical director) and I, of the Eaton-Young Piano Duo, decided to take the production to the International G&S Festival in Buxton, and the cogs haven't stopped turning. Our partnership has been extremely fruitful, and we are constantly looking to the future, as an emerging opera company. We are very fortunate in having an extremely talented cast and team from a variety of backgrounds - up and coming young professional musicians from the London music colleges, seasoned performers on the professional stage - Peter Knapp being one such example - actors, designers - and the number continually increases
Mary: John, my friends and I were completely knocked out by your company's production of The Mikado last year, at the Rosemary Branch Theatre! We'd already seen a big West End production of it at the Savoy a couple of years ago, and frankly, found it a bit dusty. But when I saw the Charles Court Opera company perform it, it was like I'd never seen it before! Your company's production of The Mikado brought all the tongue in cheek, humorous aspects of the story alive, and everyone I spoke to about it afterwards said they couldn't remember ever enjoying an opera more! One of the fellows with us is a regular at the Royal Opera House, and I used to work for the Philadelphia Orchestra and attend ENO operas here regularly. How did you, and the company manage to re-invigorate such a well-known, old favourite like The Mikado , and make it your own?
John: The beauty of that cast was, for the most part, they were completely new to G&S, and that style of performance. This gave me completely fresh clay to mould, so to speak, unspoiled by the 'old' ways, which, though very respectable, can be a hindrance with a new production. I wanted to bring it a little up-to-date, but without losing the flavour of the classic Victorian melodrama, and with a young and energetic cast, enthused by a desire to entertain.... the rest, as they say, is history.
Pitty-Sing (Rebecca Seale), James Young (Titipu Town Band a.k.a. The Eaton-Young Piano Duo), Peep-Bo (Rosie Bell), Yum-Yum (Liz Menezes), David Eaton (Titipu Town Band a.k.a.The Eaton-Young Piano Duo) Photo Courtesy of John Savournin
Mary:: Have you ever thought of the company performing at the Edinburgh Fringe Festival John? You bring such a refreshing lilt to your performances that it makes the material seem bang up to date in a way, no matter how time-worn it may have seemed in the hands of less innovative performers! And the exposure would be a plus for the company! I think it's great that Charles Court make operas accessible to the masses... The accessibility of your company's performances have the potential to encourage lots of people to thoroughly enjoy opera, who might not ordinarily engage with it.
John: Indeed we have considered the Edinburgh Fringe Festival, though this year we are tied up rehearsing and performing The Mikado in the summer. It is definitely on the list. And as an up-and-coming opera company, we need all the exposure and support we can get - hence why we are bringing out a lot of new productions - giving the company as much exposure as we can.
Mary: Every year Charles Court Opera returns for a season of performances at the Rosemary Branch Theatre, in Islington. What is it about that particular venue that keeps you, and your company returning to it?
Charles Court Opera - Mozart and Salieri Photo Courtesy of John Savournin John: We all adore the Rosemary B. It's not just that the owners are so supportive, but the venue itself lends so well to intimate productions - and the idea of performing opera in a pub theatre is most certainly a novelty. The acoustic is perfectly balanced and there is a great technical facility. But the most important part of it for me is that getting that close to your audience is always so fantastic. They are always ready to throw themselves into the show - well, you can't avoid but be drawn into it in such a small space - they become part of the action! Particularly with G&S, the audience plays such a vital role in making the production come alive
Mary:Are there any plans for you and the company to do any touring in future? Any plans to perform outside of the UK?
John: As I mentioned, we are taking The Mikado on a small tour to Buxton, and then some small venues in the South. We are also taking HMS Pinafore to Woodhouse Copse, near Dorking in Surrey, to perform it on a boat-come-open air theatre, by Woodhouse's beautiful lake, with full orchestra, which is going to be absolutely beautiful, which is where we just performed Mozart and Salier by Rimsky Korsokov, with Impresario by Mozart, updated for us by Peter Knapp. Full details can be found on our website: www.charlescourtopera.com , and www.woodhousesounds.com , and performance are across 6th - 16th July. As for any international visits, watch this space - there are some possibilities in the pipeline...
Mary: What/where has been your/Charles Court Opera's most memorable performance to date?
John: My first ever role was the Judge in Trial by Jury at the Opera House in Buxton. I was 11. That was frightening! But, the most memorial one... I think it goes without saying that one such memorable performance would be the opening night of CCO's The Mikado , where I found myself picking up a dress, wig and padded bra, and going on stage to play a role I had never rehearsed or sung before - Katisha - after the alto called to say she was unable to perform. I was a little nervous shall we say! But then, with a role such as Katisha, I guess it wasn't only the one to be frightened! - Indeed, in our current revival, I managed to make a schoolgirl cry! However, the whole experience has resulted in the continuance of me playing the role - apparently it works rather well! Indeed, the Metro remarked that it ‘reveals aspects of the role usually fudged.'
Mary: Is there any opera, or piece of music in particular that you and the company would love to perform in public, but haven't been able to yet?
John: In a totally different world to G&S, Wozzeck. Most definitely. We are hopefully able to fulfil one of our ambitions, The Turn of the Screw , in the Autumn, at the Rosemary Branch Theatre (!), but Wozzeck is a piece that David, James and I would love to get to grips with. For the Eaton-Young Piano Duo, it is a transcription and half, and to direct it would be a real challenge that I would relish.
Mary: Have you, and/or the company ever made any recordings? If not, would you like to? Are there any plans to pursue that in future? Given trends, in recent years, towards Medieval Babes, etc., I would think that there might be quite a market for fresh new interpretations of favourite operas!
John: We don't have any recordings as yet. However, we are planning to record The Mikado and HMS Pinafore in the not too distant future, the first of which will be available at The International G&S Festival.
Mary: You have some wonderful musicians with your company, the very talented piano duo of James Young and David Eaton, who were recently cited as rising young stars when they had a return engagement at the Royal Festival Hall recently. How did you link up with them?
John: : I have known David and James for many years, and having worked with them in the past in other productions. David and I met on a production of La Boheme , and the partnership was born. We had discussed the idea of performing opera in intimate venues, in a new and available style, and how to make an impact. The duo decided that it would be intriguing to transcribe opera for piano duet - no other piano duo in the country does this. The result has been so exciting - it's different, unusual, and they make a fantastic sound! You certainly do not miss the orchestra - all the notes are there, and with their sublime skills, it is stunning to hear.
Mary:Mary: Following Charles Court Opera's spirited performances of The Mikado , and H.M.S. Pinafore, another talented troupe of singers and musicians graces the Rosemary Branch with their interpretations of some classic operas, including amongst them, Mozart's Don Giovanni, which you'll be performing in as well. Could you tell us a little about Minatour Music Theatre John, and how you got involved with them?
John: : Following the La Boheme that David and I were involved with, Stuart Barker, who is artistic manager for British Youth Opera (BYO) was also doing it at The Rosemary Branch, with David as musical director, and he suggested I got involved to play Colline. Since then, we both have been performing in all of Stuart's productions, who is a joy to work with. This year's offering promises to be a great show - with many singers from CCO. I for one am looking forward to playing the title role.
Mary: Do you have any interest in performing types of music that are totally out of the operatic range?
John: We are currently planning to bring a musical to the RB at Christmas - possible South Pacific -which would be truly magical in such an intimate venue. There are also plans to work through the Sondheims in the near future. Watch this space!
Mary: Any new projects on the drawing board for you/Charles Court Opera?
John: Apart from The Turn of the Screw , there is Ruddigore alongside it at the Rosemary B. - a sort of Halloween double bill - We are also currently planning Noye's Fludde by Britten, and even looking into the possibility of branching out into plays - Pinter is high on the list.
Mary: What is the project of your dreams John? Come on, you can tell us! What do you think it would take to make it happen?
John: That's a tricky question to answer. I can certainly give you a dream goal: I would love to see CCO in the major theatres across the globe, opening a diverse range of opera, musicals, plays, concerts.... but of course, all this requires time, patience, and a little bit of the green stuff. To quote a line from HMS Pinafore - "Time alone will tell".
Mary: Many thanks for doing this interview John! We wish you, Charles Court Opera Company, Eaton Young Duo, Minatour Theatre and Fandango Cabaret all the best for the future!
John: My sincere thanks to you and all at Extra! Extra! It is the support of people such as yourselves that keeps us going through all this hard, yet extremely rewarding work. I look forward to seeing you at our forthcoming productions. www.charlescourtopera.com
Interview from EXTRA! EXTRA! www.extraextra.org The only online theatrical newsletter for and by its readers
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