Vampirella – Smock Alley, Dublin
Director: Conor Hanratty
Composer: Siobhan Cleary
Librettist: Katy Hayes
Conductor: Andrew Synnott
The world premiere of Opera Briefs 2017 production of Vampirella took place this evening in the main stage of Smock Alley Theatre. This work by composer Siobhan Cleary is the result of a creative partnership between the Royal Irish Academy of Music and The Lir National Academy of Dramatic Art at Trinity College Dublin.
Based on Angela Carter’s story this makes for an interesting and entertaining basis for an opera. As the somewhat unusual title suggests vampires feature heavily in this work. Set deep in the Carpathian Mountains The Count watches posthumously over his beloved daughter. His love outliving death. The young Countess meanwhile is consumed by loneliness, living in the shadows with only her Scottish Governess for company. In 1914 an English soldier called Hero seeks shelter in a desolate castle. Arriving on a bicycle in tweeds with a perfect upper class English accent his hunt for a cup of tea couldn’t be more out of place in this home of the undead. Soon he meets the beautiful Countess but is taken aback by her unusually sharp, pointy teeth and lengthy nails. When her pet cat scratches him she cannot resist the chance to drink.
Hero is presented as an innocent. He enters the stage from the right completely free of fear with a naïve sense of humour. Throughout the performance one waits to see whether he will retain this innocence and go onto survive or whether he will eventually be drawn into darkness. The final scene sees a change in tone that rounds of the opera on a sad and tragic note. Traditionally, in pantomime in particular, the characters representing good enter from stage right and those representing evil enter from stage left. This idea is used and played with in Vampirella when our protagonists take their places on the stage. The Count sits above the proceedings, only descending to the stage when he fears that his daughter will be lost to the charms of this invading Englishman.
Special applause should go to the orchestra who navigated the piece successfully from beginning to end while also managing to play in near darkness. They seemed to be both technically exact while supplementing and furthering the narrative without ever overpowering and obstructing the vocalists. The compact team worked well together in this tightly organised and plotted production. In line with this the stage is effectively utilised with simple props; a bicycle and a bed moving easily from one side to the other. Eight cloaked figures holding candles haunt the stage; singing, chanting, moving in unison.
This is an ideal opera to take place in the city that gave birth to Bram Stoker and that has been drawn year after year into tales of vampires. At the close of Vampirella one is left questioning who the real monsters are and can innocence survive in this world?