spotlight
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GMTG THEATRE GROUP
SPOT
SPOT- GMTG PRESENTS LIGHT THE PHANTOM
OF THE OPERA
CONTENTS 2
PHANTOM OF THE OPERA REVIEW
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THE MARRIAGE OF FIGARO INTERVIEWS
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UOB LIBRARY HERMIT FEATURE
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HUMANS OF BIRMINGHAM FEATURE
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THE BARBER INSTITUTE FEATURE
EDITORIAL EDITORS SUSANNAH DICKEY CHARLEY ROSS CONTRIBUTORS SAM DIX CHARLIE MALONEY LAUREN FOLEY EDITORIAL ASSISTANTS LUCY MOSELEY
TEXT SUSANNAH DICKEY
PHOTOGRAPHY CHARLOTTE WILSON
It’s a tale as old as time: boy meets girl, girl meets boy, boy manipulates girl’s tender sensibilities in order to battle his own crippling feelings of isolation... This is the Phantom of the Opera, a Freudian tale of all-consuming, destructive love that has rendered audiences both haunted and captivated since it flourished onto the West End stage in 1986. Iconic, long-running musicals are often doomed to slumber in perpetual predictability, as directors struggle to put a new spin on a theatrical titan. How then, would the tender medium of UOB student theatre cope with the challenge? As Heraclitus said, ‘Big results require big ambition’, and it is true that anything less than big ambition would have rendered the production flaccid and lackluster. Musical Director and Producer Josh Sood’s decision to engage with the score rather than rely on the scratchy timbres of a CD is to be commended, for nothing less than the emotive depth of
a live orchestra would have matched the vocal ferocity of his protagonists. Neither tone nor articulation could be faulted, while under Sood’s direction the sinfonietta embraced the score with nuance and professionalism. The initial gentility of ‘All I Ask of You’ has a propensity to be overshadowed by the hairraising despair of many of the Phantom’s songs, but the synchronicity of Thom Udall and Abby Fiddick’s superb vocal control and the lilting vibrato of the strings proved a highlight. Fiddick’s Christine Daae was faultless in her performance as the fragile heroine, and Udall’s Raoul embodied the soulful sensitivity of her unassuming protector. Those who attended the Guild Awards in March were treated to a sample of Andrew Wilson’s Phantom, and were left astounded by his performance of ‘Music of the Night’. Within the wider context of the show, Wilson captured the dualism of Leroux’s antihero, evoking
both derision and empathy in his listeners. One of the more complex characters in contemporary musical theatre, the Phantom demands a lot of those who pay homage, with an emotional spectrum that careens from quiet desperation to explosive rage in an instant. Wilson achieved both poise and passion without faltering, lubricating the pace of the show and facilitating the harmony between the widely divergent characters. Jake Dorrell and Joanna Goldspink were perfectly cast in the roles of Piangi and Carlotta, injecting a perfect dose of wild hysteria into the story’s dark solemnity, while Emma Anderson’s Madame Giry struck just the right tone of authority and anxiety. Sparkling lead performances can occasionally have their lights dimmed by inadequately polished choreography within the chorus. However, in both ‘Masquerade’ and ‘Past the Point of No Return’ group vocals achieved multidimensional textures rarely heard in such large ensembles, while the choreography was timed with a precision that suitably matched the high intensity drama of both numbers. The performance was an undisputed triumph, and a testament to what can be achieved behind the dusty curtains of a humble campus stage.
LIGHT
"Within the wider context of the show, Wilson captured the dualism of Leroux’s antihero, evoking both derision and empathy within his listeners."
GMTG THEATRE GROUP
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LIBRARY HERMIT
SPOT
CAMPUS FIGURES:
UOB LIBRARY HERMIT CRAB
Any similiarity to real library hermits, living or dead, is purely coincidental. Spotlight discusses the campus' most enigmatic crustacean.
TEXT CHARLEY ROSS
ILLUSTRATION JOSIE BYRNE
Cloaked in mystery, infamous fascination and sheer determination to succeed, he has become the talk of campus. People are forever debating his whereabouts, his activity and, most importantly, his identity. An enigmatic treat to all those procrastinating on social media, he has become a pearl within the oyster that is the world of campus culture. A beacon of inspiration to the wider student population, the University of Birmingham Library Hermit Crab knows what's what. He ain't just studying for the halibut. Setting a new standard of commitment to the cause of academic excellence (or, mediocrity, at least), our friend the Hermit Crab is putting any pretenders to shame. Flexing his mussels at any anemones who question his ability to succeed, he is a force to be reckoned with. His seaside sonnets etch breathtaking images of the importance of perseverence on the hearts of thosands. His sporadic bouts of philosophical superiority and existential questions instil hope in all those who were tempted to drown themselves in homous and self-pity due to the unbearable pain that comes with studying for a degree. His entire physical and online-based existence is not by any stretch a shellfish attempt at martyrdom amongst the books. If ever you need to find his spirit, simply play the mythical motivational anthem by Survivor: 'Eye of the Tiger(fish)'.
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HUMANS OF BIRMINGHAM
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HUMANS OF BIRMINGHAM Influenced by Brandon Stanton's Humans of New York, an international student at the University of Birmingham is capturing the stories behind the faces, one student at a time.
"Most people I know are constantly complaining about something." "Like what?" "Exams, bad coffee in Costa, global warming… something like that!" "Be the change you want to see in the world. That’s why I joined AIESEC, in hopes of leading the youth movement, and making the world a better place.”
"Life is full of uncertainties. So basically, you never know what will happen next, or who you will be meeting in the next moment. Always be prepared. Hope for the
"I guess I don’t have any noble, worldly visions
best and plan for the worst. Never look back - carpe diem!" (after a brief pause) "Wait… did I just sound like I was being all YOLO?"
or determination. But at the end of the day, when I do sit down and look back on what I’ve done so far, I’d like to be able to tell myself that I’ve done the best I can, and no regrets. Maybe that self-contentment is really what I’m aiming for."
TEXT AND IMAGES HUMANS OF BIRMINGHAM
“Think different.” "That’s grammatically incorrect - but that’s the first step towards thinking differently. Try not to think about guidelines or regulations, and don’t be afraid to be labelled as aliens or misfits. People who isolate you do not have the quality to understand your values. And yes, your life is limited, so don’t spend your time living someone else’s life."
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MARRIAGE OF FIGARO
SPOT
MUSIC POSTGRAD PHILIPPA ALTHAUS HAS TAKEN ON THE CULTURALLY SIGNIFICANT ROLE OF SUSANNA IN THE MARRIAGE OF FIGARO, DRAWN TO THE CHARACTER'S VIVACIOUSNESS OF SPIRIT Susanna is more than a powerful musical creation. Embodying the independence of the influential women in Mozart’s life, Susanna defies the lack of equality in the feudal society the composer found himself living in. "When she's with Figaro she’s a very strong presence. Even with the Countess, although they’re not societal equals, it is to Susanna that the Countess goes to for help.” This is the complex dichotomy of the Marriage of Figaro, in which Susanna is an idealised feminine character
in the eyes of her composer, but simultaneously little more than an object in the eyes of the Count. "When it comes to the Count, there is that very marked difference when she becomes a purely physical entity, because of his wants. There were these traditional rights whereby the servants of the house had to lose their virginity to the master of the House. This is the struggle that Susanna has to deal with, having to resign herself to the Count while worrying about the strain it will put on her relationship with Figaro.” The darker elements of the opera are captured within the dominant nature of the Count, but he becomes little more than a spectacle when set aside Mozart’s female protago-
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MARRIAGE OF FIGARO
THE MARRIAGE OF FIGARO
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The stars of the Summer Festival of Music's operatic finale spoke about gender roles, modern interpretations and mastering sheet music. DIRECTOR EMMA HASLTEAD AND MUSICAL DIRECTOR JOSHUA ROHDE ON TACKLING THE ICONIC OPERA OPERA IS SEEN AS QUITE INACCESSIBLE, WHY CHOOSE THE MARRIAGE OF FIGARO? Joshua Rohde: Mozart’s original composition was, of course, in Italian. But we’re using a 1930s translation of the original, which we felt was the best translation. It is actually very easy to understand. The actors sing everything, but if you listen to what’s being said you’ll be able to follow the storyline. THE MARRIAGE OF FIGARO ITSELF HAS SUCH A GREAT STORY. Emma Halstead: Yeah, that’s a big part of the reason that we chose it. It’s a farce, where everything seems to always go wrong. Students will find it funny - it is very relevant. The 1930’s hierarchical structures might seem very dated; a lot of it is about servants, but the general themes, about relationships and betrayal, those are very relatable issues and it speaks to us all. WAS IT A CHALLENGE TO BASE STAGE DIRECTIONS ON NOTHING MORE THAN SHEET MUSIC? EH: Well, there are certain scenes that are iconic, and it’s well known how they are supposed to be performed. But yes it is perhaps more challenging without a script. To a large extent, Josh’s and my jobs overlap. We had a lot of ideas about the way we wanted the opera to look at the start, but it has developed naturally as we’ve been rehearsing with the cast. In terms of reading the sheet music though, it’s not really too much of a problem for stage directions, a lot of the movements come very naturally. It can be a bit tricky in terms of the musical direction though. JR: There are a lot of times when Mozart wrote that the music is supposed to get quieter or louder. Now, it’s not really made clear what that means, so it’s up to us to interpret why he wanted to include that change and what it says about what’s happening with the characters. WHAT WOULD YOU SAY TO STUDENTS CONSIDERING COMING TO SEE THE PERFORMANCE? JR: You don’t ever have had to have seen an opera before to enjoy this. In fact this opera would be a great way to get started - it’s very easy to understand. But even if you just wanted to be entertained: the music is brilliant, we’re working hard to make sure it’s of a high standard, and it will be a good night. EH: Make sure you’re there! TEXT CHARLIE MOLONEY
nists. "I think because Susanna is so sassy and confident I don’t think she is somebody who would allow herself to become a subordinate. With Figaro the relationship is a very equal partnership. Their first duet is a contemporary representation of a typical relationship. You have the very recognisable appeasement of the man, set against the persistence of the woman". Philippa’s operatic style is well suited to Susanna’s arias, but more so she has managed to engage with the depth of the character: with Susanna’s personality but also with her relationship with Figaro. “She’s very clever and witty I was drawn to her because of her lively exuberance. I associate with that. I also know what it’s like to TEXT SUSANNAH DICKEY
be in love with someone but to deal with all the petty differences that arise within a relationship. I’m married, and I think the feelings that come with that allowed me to associate with Susanna.” The finale to the Summer Festival of Music, The Marriage of Figaro has been moulded by its directors; transported to the 1930s, weaving 20th century glamour into the traditional 18th century Commedia dell’Arte. "The 1930s interpretation, coupled with the very strong role of Susanna, I think will make the opera widely appealing to a modern generation. The opera is riddled with sexual innuendo (probably why it was so controversial at the time!), but this serves to speak to a demographic far beyond that which Mozart was
PHOTOGRAPHY CHARLEY ROSS
appealing to at the time of writing it." Mozart wrote The Marriage of Figaro wth librettist Lorenzo da Ponte, and within it the depictions of women are deeper and more interesting than the depictions of men. Further, Mozart did not defy the status quo merely with regard to women, there are also very pointed moments of mockery aimed at the class system. “The libretto is very satirical, it pokes fun at the ruling classes, which would have been very controversial. The plot is also defiantly feminist.The women are very in control, the plot is driven by the female characters. Susanna in particular uses her femininity a lot to kind of manipulate and lead the story in a very comedic way - it’s been a lot of fun to play her.”
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BARBER/HOROSCOPES
THE BARBER INSTITUTE
SPOTLIGHT CHOOSES THREE MUST-SEE PIECES FROM THE CAMPUS GALLERY
PAUL DEVAUX THE SLEEPING VENUS Heavily influenced by Magritte, Devaux's surrealism provides an almost hostile onslaught of competing images, from the serenity of a sleeping goddess to the hysteria of a naked woman while the presence of a clothed woman conversing with a skeleton further bewilders. The classical setting and overt sexuality demonstrates Devaux's appreciation of the work of Freud, capturing Freud's unintentional juxtaposition of Greco-Roman imagery and psychoanalytical theory. RENÉ MAGRITTE THE FLAVOUR OF TEARS Magritte's surrealist painting provokes the discomfort and disorientation that puntuated the aftermath of the Second World War. The painting subverts expectations through the provocative image of a caterpillar feasting on the body of a bird, which in turn becomes a leaf. This challenges conventional perceptions of nature and predatorial impulses.
TEXT SUSANNAH DICKEY
HOROSCOPES GEMINI
Now is the time to do all the things you’ve been putting off. Venus says getting a Redbrick-related tattoo would be a top idea; I don’t know what’s stopping you.
CANCER
The stars know that you try to be likeable, but you’re often too clingy, and your neighbours hate your music taste.
LEO
You’re being paranoid. Mi5 are not watching you. Go about your business. Also, Pluto wants you to enunciate more, and maybe narrate your actions.
FERNAND LÉGER COMPOSITION WITH FRUIT Popular since the 17th century, the still-life medium provides artists the opportunity to inject a traditional art form with individualism. Here, the title 'Composition' is appropriate, given the almost musical placement of the shapes. The subtle textures and graduations of the block colours soften the severe lines while the playful curve of the worms within the fruit add an elements of mischief to the palette.
PROPHECIES BY MISS TERRY
VIRGO
SAGITTARIUS
PISCES
LIBRA
CAPRICORN
ARIES
Confident, funny, trustworthy, and beautiful; none of these things describe Virgos. The fact that you thought they did proves that you’re kind of big headed.
It’s important that you avoid all amphibious creatures this week; the positioning of Jupiter’s largest moon increases the chances of them murdering you in a horrific and slimy way.
SCORPIO
You’re often sceptical of things with no scientific basis.
Much like astrology itself you are deep, profound, and ruthlessly mocked by those you consider your peers.
You'll be given a chance to get ahead with next year’s workload but you’re going to mess it up. Blame Mercury and flee if anyone asks why.
AQUARIUS
Despite seeing yourself as “pretty awesome”, most people despise you. I suggest you cut your losses, move in with your Nan, and maybe get a cat.
Watch out for a blonde haired foe, they harbour a grudge against you and will stop at nothing to take their revenge.
At times you can be quite the daredevil. Take advantage of that this week and do something spontaneous. Not so spontaneous that you end up in jail though…Or do... Neither I nor the stars care.
TAURUS
An abrupt lifestyle choice will see you making a new set of friends based solely on a mutual enjoyment of slinkies.