Theatre review: The Firebird
Review of The Firebird by English Touring Opera and Little Angel Theatre
If you're looking for a magical adventure full of creativity and wonder, look no further. English Touring Opera have teamed up with Little Angel Theatre to produce a visually striking puppetry adventure for children age 7+.
Based on the poem by Michael Rosen, The Firebird is a mini-opera specifically designed for youngsters.
At just 25 minutes long, it's long enough to engross viewers in the narrative but not to overwhelm. This makes it a very good way to explore the genre without it being overpowering and shares inspiring imagery and camera work.
Opening to a view of the puppet studio accompanied by energetic orchestral music, you get a sense of the theatre experience within the framing. An omniscient narrator (Aimee Louise Bevan) appears on screen, speaking over puppet Prince Ivan as he moves through the forest. Prince Ivan (Richard Dowling) is visible behind the scenery, creating an intimate atmosphere of good old-fashioned storytelling.
Using the narrator this way provides the story arc and intonation of opera in a format that is somewhat familiar to youngsters, making it more accessible. It reminds me of the kind of videos I used as a teacher. I highly recommend it as a base to create a unit from, particularly for primary pupils.
As we follow Prince Ivan through the forest, his happy walk changes with a piano flourish when he spots a Firebird (Rose Stachniewksa) - a bird whose feathers are all aflame. The interruption adds non-threatening tension and suspense in the manner you'd expect with opera. However, it is slightly harder to hear when Prince Ivan and the Firebird sing together as the music is also vying for attention, making it a bit over sensory at this point.
This encounter provides some good talking points to discuss with children around ethics and emotions. There are also strong talking points later in the story around what freedom is and King Katschei's character, whom we hear about before we see him on screen. This production has managed to retain the essence of a fable well - you'll find yourself discussing the characters and their actions throughout. As is customary in opera, there are rhetorical questions within songs. This allows a deeper understanding of the characters and the opportunity to engage with the moral crossroads they find themselves at.
There is a further change in tempo with the introduction of Princess Vasilisa. Here, the camera angles alter along with the music, narrator's tone and puppet movements. You're hooked. By this mid-point, viewers are invested in the characters and bewitched by the magic of the operatic experience. There's space for imagination throughout, reminiscent of the kind of imaginative play children participate in.
Keeping language use simple and age-related, younger children will love the exchanges between Prince Ivan and Princess Vasilisa when he talks about staying. Singing ‘don’t be silly! Silly-billy!’ makes it playfully memorable and will likely have children off repeating this after viewing!
There is also humour when The Firebird makes evil King Katschei dance, which he hates. The tune is much more playful and with lyrics including ‘silly King Katschei, I’m a smelly fish! / Silly King Katschei, I’m a smelly, smelly, smelly fish!’ so expect to hear children and adults alike to be giggling away.
The layered repetition of ‘deeper and darker in to the castle…’ is reminiscent of Funnybones and the kind of rhythmic repetition younger children respond to. Adapting both the form and the language of opera in this way breaks stereotypes of what opera is and who it is for; opera is fun and it is for everybody.
No review of The Firebird would be complete without mentioning the singing within it. The first half of the short is more geared to generally exposing viewers to operatic vocals and form, building to some heavier, exquisite singing in the second half. The Firebird and Princess Vasilisa (both Rose Stachniewksa) provide delicate sopranos while Prince Ivan and King Katschei (Bradley Travis) a strong tenor and bass baritone respectively. There is some wonderful music within this 25-minute short. The duet between Prince Ivan and Firebird is a wonderful crescendo, the best in the performance.
Composed by Noah Mosley and directed by Valentina Ceschi, The Firebird is supported by Arts Council England. There is clear attention to detail and what children will enjoy. It has been developed as part of English Touring Opera's outreach and engagement work, with both the music and narrative providing plenty of 'mimicable moments' for children.
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