Scottish Opera: Marx in London!

Theatre Royal, Glasgow - 13/02/24

Orchestra of Scottish Opera | Chorus of ‘Marx in London!’ | David Parry, conductor | Roland Wood, baritone | Orla Boylan, soprano | Rebecca Bottone, soprano | William Morgan, tenor | Lucy Schaufer, mezzo-soprano | Alasdair Elliott, tenor | Jamie MacDougall, tenor | John Molloy, bass | Chuma Sijeqa, baritone | Paul Hopwood, tenor

Whatever philosophical expectations the words of the title of Jonathan Dove’s opera ‘Marx in London!’ might have engendered in the minds of the opera-goer, the exclamation mark kindled hopes of a lighter Charles Hart libretto, while the advance publicity, with its Pythonesque poster and trailer, further fanned the flames of expectation of a fully-fledged comic opera rich in the elements of farce.  And so it was at the opening night of Scottish Opera’s UK premiere production at Glasgow’s Theatre Royal on 13th February.  The visually overt homage to Terry Gilliam’s collage animation permeated Yannis Thavoris’ design, Kally Lloyd-Jones’ movement direction, PJ McEvoy’s ingenious video back-projection and Rory Beaton’s lighting. The music is Dove at his whimsical, pacy best, full of teasing references to other operas, and conductor David Parry guided its fullest realisation with the Orchestra of Scottish Opera, Chorus of ‘Marx in London!’ and a great cast of principals.  I am no stranger to Stephen Barlow’s direction of Dove, having caught his ‘Flight’ in 2018, so I knew it would be slick. I was not disappointed.

Baritone Roland Wood played the politico-economic theorist in straitened circumstances, with a Brahmsian beard but Wagnerian domestic finances.  In London because he has been evicted from everywhere else as a troublemaker, and still under the surveillance of a Prussian spy, the hapless Marx endures humiliation at the ‘hands’ of the bailiffs, a pawnbroker, a thief and the police, not forgetting the carbuncles on his bottom, all in the space of one day.  But he also shines as an orator, a true friend and a visionary and finishes the day restored to self-belief and contentment.  Roland, whose Gianni Schicchi in Scottish Opera’s Trittico had wowed a year ago, delivered another fine characterisation and vocal performance.

Irish soprano Orla Boylan was stunningly costumed as Marx’ long-suffering, steadfast but not uncomplaining wife, the aristocratic radical, Jenny von Westphalen. Her patience is sorely tried through the events of the day, making the eventual reconciliation all the sweeter.  Orla delivered a formidable performance, dramatically and vocally, in a tragicomic role rich with humour, but also pathos and grief.  Particularly memorable was a poignant aria grieving for four children that she had lost in their infancy, while a ghostly back-projection showed four empty baby garments of different sizes.  Achingly beautiful.

The role of Marx’ youngest daughter, known as ‘Tussi’, 16 years of age at the time of the action, was played by soprano Rebecca Bottone.  Intelligent, inquisitive, flirtatious and fiercely loyal to and protective of her father, the role is dramatically and vocally demanding, with some phenomenally agile wide-ranging coloratura to negotiate.  I remember her as a delicious Yum-Yum in Scottish Opera’s Mikado in 2016. The reaction “yum-yum” also covers her Tussi, so to speak.

Tussi’ s love interest, until a plot twist (no spoilers) late in Act II, was 18-year old Freddy, on a quest to find his birth parents, played by William Morgan, an unforgettable Candide in Scottish Opera’s “bonkers but brilliant” 2022 production. The butt of much of the slapstick visual humour in Act I, his duets with Rebecca were a joy to the eye and ear and the role is quasi-heroically crucial to the final dénouement and plot resolution.  A performance satisfying to all the senses, including that of humour.

The well-established operatic role of long-suffering housekeeper in a chaotic household (but in this case with added centrality to the plot) was expertly delivered by mezzo-soprano and all-round creative talent Lucy Schaufer.  Helene is no less victim to the strain of living with the man who would refashion the global economy but cannot manage his own household with any degree of competence. One of the many highlights of the evening was an hilarious mutually empathetic gin-soaked duet with Orla, wife and housekeeper sharing the woe of life chez Marx.

Marx’ friend, philosophical soulmate and financial saviour, Friedrich Engels (the ‘angel’ investor?), makes a dramatic entrance, not as a knight in shining armour (that’s later in the opera) on a white charger, but clad in white on a white penny-and-two-farthings tricycle, complete with angel’s wings.  Scottish tenor Alasdair Elliott delivered a performance that convincingly wed the surreal with the human aspect of friendship, helping the audience to comprehend how Marx’ domestic milieu, despite exasperation with the hero’s mercurial unreliability, remain steadfastly loyal to him.

National treasure of the Scottish stage, tenor Jamie MacDougall, opened the action as the Prussian spy, archly and furtively appearing through the action and finally overtly revelatory in the dénouement.  Worthy of mention also were Irish bass John Molloy as the Pawnbroker, South African baritone Chuma Sijeqa as a moneyed Westphalian activist Franz and English tenor Paul Hopwood as the Italian orator Melanzane.

A triumphant confluence of excellence in music, acting, stagecraft, design and direction, there are two further Glasgow performances, followed by two more in the Festival Theatre in Edinburgh.  Highly recommended.

Cover photo: James Glossop