I am very happy to be returning to a project that I had so much fun with almost this time last year. It's a little version of the Magic Flute - a project devised by director Heather Fairbairn and composer Ana Seara with ENOA.
It's immersive, comic, musical storytelling and I have the pleasure of reviving the production over the next month with new teams in both Madrid and Lisbon.
What a blessing to return to a project. We don't get that opportunity very often - and to develop the show with Ana and the new teams is what I love doing; making a team, playing and exploring this story for a new audience.
I seem to be making a lot of children's work at the moment. The Clonter children's show, these Magic Flute revivals and the new opera commission which has an R&D in December. That project in December is one where I've called in a lot of collaborators I love and trust. I'm pleased to be working with Benjamin Williamson again as well as Mervyn Millar - more details regarding the specifics of this soon... I can't quite reveal this yet...
It's not that the children's shows are any less an opera - it's just that they are shorter in length, but still as intense and with debatable even more important morals.
The thing with children audiences audiences is that they are so honeys with you as a theatre maker. If its funny, they'll tell you, if they are moved they sit mouth wide, and if they are bored youll know about it. Its not that conventional opera audiences are necessarily any different per se but I generally find children more honest. I also think that I have an eye for this work, perhaps my silliness and sense of humour is satisfied in this genre and type of work.
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