A London Stage PremiereProduced at ENO in collaboration with Improbable A co-production with the Metropolitan Opera, New York Satyagraha
Copyright English National Opera M.K. Gandhi in South Africa An opera in three acts by Philip Glass Adapted from the text of the Bhagavada by Constance De Jong Book by Philip Glass and Constance De Jong Conductor - Johannes Debus Director - Phelim McDermott Associate Director/Set Designer: Julian Crouch London Coliseum 9 performances only 5th April – 1st May, 2007
Review by Mary Couzens Until Mahatma Gandhi originated the term ‘Satyagraha’ there was no definite expression for the concept of non-violence in any language. ‘Satya’ means truth and, when in conjunction with ‘graha’, in Gandhi’s own words translates as ‘holding onto truth’ or ‘truth force.’ Unfortunately, the word Satyagraha is rarely, if ever used today. And yet, as Gandhi’s life exemplified, when put into practice, it is not only a concept that is capable of righting misconceptions, but also, of ultimately, inspiring change for the greater good. Contrary to operatic tradition, Glass’s Satyagraha begins in complete silence, as a soft spotlight reveals a young man dressed in a suit laying face down on the ground. It is Gandhi (Alan Oke) in the undignified position, which fired his life-long resolve to oppose racism, having suffered an attack while travelling to South Africa to take up the post of lawyer for an Indian firm.
Alan Oke as Gandhi Copyright English National Opera The action of the opera does not progress in a linear fashion, but instead moves back and forth in Gandhi’s life, each of the three acts juxtaposing crucial incidents in his own non-violent quest for truth with one of three icons of satyagraha: Tolstoy (1828-1910) who wrote counselling letters to the young Indian leader until his death to represent the past, Indian poet and contemporary Tagore (1861-1941) to correspond with his then present and American Civil Rights leader Martin Luther King Jnr (1929-1968) as the epitome of non-violence in action in his future.
Alan Oke as Gandhi with Martin Luther King Jnr. (Charlie Folorunsho) Copyright English National Opera Satyagraha, Philip Glass’s second opera, written in 1980, is the first in which he applied his own unique musical style to a traditional orchestra. Samuel Beckett, one of Glass’s chief creative influences, was intrigued with the relationship between character and audience, as opposed to that between characters alone. Satyagraha seems to function along similarly interactive lines with its performers addressing the audience. Alan Oke is alternately passionate, pensive and poignant as M.K. Gandhi and his singing is, at all times, sublimely powerful. His acting is mesmerising and also, thoroughly convincing. The wonderful Anne Marie Gibbons sings her role of Kasturbai, Gandhi’s wife, with rare sensitivity and tenderness. Elena Xanthoudakis and Janis Kelly also shine as Gandhi’s Secretary, Miss Schlensen and Mrs Naidoo respectively, as do Ashley Holland, James Gower, Jean Rigby, Robert Poulton and James Gower in their roles.
L to R: Elena Xanthoudakis (Miss Schlensen), James Gower (Parsi Rustomji), Alan Oke (Ghandi), Anne Marie Gibbons (Kasturbi), Élena Xanthoudakis (Mrs Naidoo), Ashley Holland (Mr Kallenbach) The singing, which is done in Sanskrit, is, at times, rapturous, its ravishing segments harmoniously sung, employing Glass’s trademark repetitiveness which imbues their song with the mysticism of ancient mantras. In many cases the singers themselves melodically repeat phrases or lines, often intensifying their inflections, and the overall effect, curiously, feels deeply contemplative. The artful, paced movements of the performers at times can only be compared to dreamlike, walking meditation. As nothing is, in any way, atypical about this opera, translations from the Bhagavada Gita seem to materialise, rather than simply appear, along the back wall of the arched, corrugated iron set.
Alan Oke as Gandhi with full cast in Satyagraha Copyright English National Opera Speaking of sets, this is one production in which the sets themselves seem almost as integral to the success of the performance as the performers themselves. Their high, corrugated panels are deceptively simple, for their many parts shield many mysteries, which are slowly and brilliantly revealed intermittently throughout the performance. Improbable’s puppet making and related wizardry has never been more impressive and their ingenious use of simple props such as newspaper and tape would be beyond imagining for most designers. The frequent use of newspaper is especially apt in this production as it mirrors the fact that the independent publication Indian Opinion became a very powerful tool for the advancement of Gandhi’s Satyagraha campaign. Director Phelim McDermott, Associate Director and Set Designer Julian Crouch and the Improbable team have broken new ground with this, their first opera, aptly reflecting, inadvertently perhaps, Gandhi’s own belief in the power of vision and determination.
The puppet artistry of Improbable and Alan Oke as Gandhi with chorus in Satyagraha Copyright English National Opera Lighting Design by Paule Constable is ever enhancing the opera’s varying moods, and Video Design courtesy of Leo Warner and Mark Grimmer for Fifty-Nine Productions, Ltd functions beautifully in conjunction with the physicality of the performers during scenes in which vital points are ingeniously emphasised. Costumes designed by Kevin Pollard are lovely and/or simple without ever being detractingly so and Chorus Master Martin Merry and Leader Janice Graham are to be commended for the skilful handling of their respective roles in this stunning, definitive production. Conductor Johannes Debus beamed as he accepted enthusiastic applause and standing ovations on behalf of himself and the orchestra alongside of Maestro Philip Glass and the talented cast and production team and rightfully so, as the shadowy underpinnings of the intricate, deeply moving score had effectively alternated with its more translucent moments throughout. Glass’s first opera, the five hour long Einstein on the Beach (1976) is the work, which brought him International fame. Khanate (1984), which employs ancient Egyptian as its principal language followed his second opera, Satyagraha (1980). Glass views his first three operas as a trilogy, with each centring on a revolutionary figure from science, politics or religion.
Alan Oke as Gandhi with principal singers in Satyagraha Copyright English National Opera This collaborative production of Satyagraha is as thrilling a performance, as one is ever likely to encounter and one that transcends both opera and theatre in terms of its topics, originality and staging. In keeping with its subject matter it is also, a true labour of love, from start to finish. As such, it is a fitting tribute to Gandhi’s legacy in this, the 60th Anniversary year of India’s Independence.
www.eno.org Apr 05, 7:30pm Running time: 2hrs and 45mins.
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