Jacqueline Dark: Pinning Clouds

Anyone expecting a conventional crossover disc from mezzo Jacqueline Dark hasn’t been paying attention. In recent years Dark’s career has ranged far and wide. Few singers, one ventures, would have followed a year as the Abbess in The Sound of Music with Fricka in Opera Australia’s Melbourne Ring cycle and then, just to mix things up, hit the Adelaide Cabaret Festival with Strange Bedfellows – Bedlam.

Jacqui Dark cd cover pic

There is no Strange Bedfellows material on Pinning Clouds (the Weimaresque material is fabulous and far too filthy) but Dark’s first CD does, nevertheless, owe something to that aspect of her work. The Beddies, as Dark and Bedfellow-in-crime Kanen Breen are affectionately known, are democratic in their tastes, happily erasing distinctions between what purists – pedants? – might characterise as high and low art.

In Bedlam, there is a moment, I understand, where the Ramones meet Schumann. While Pinning Clouds doesn’t go quite so far you can hear something of that “there are only two kinds of music, good and bad” sensibility in it, along with the generous, vulnerable spirit that is one of Dark’s loveliest qualities as a performer. To this she adds the blessing of pristine diction, for which much thanks.

It’s an act of courage, really, to include Joni Mitchell’s Both Sides Now and Leonard Cohen’s Hallelujah on a collection, so well-trodden are those paths, but Dark has an affectingly intimate and individual way with them and Hallelujah has the further advantage of being sung with Breen, who is in supple, velvety voice. Music director Daryl Wallis’s transparent, elegiac arrangement is perfect.

Also squarely in well-known territory but given a fresh sound is Sondheim’s Our Time from Merrily We Roll Along, on which Dark is sweetly joined by her son Alexander and children who appeared with her in The Sound of Music. Less familiar but no less pleasing are Debra Byrne’s touching So Soon and Lance Horne’s Last Day on Earth. Climb Ev’ry Mountain from The Sound of Music obviously had to be included on Pinning Clouds as Dark shook the heavens with it – rightly and nightly – in the theatre but here it sounds a little vibrato-heavy in comparison with the lighter touch taken elsewhere, nowhere more entrancingly than on Both Sides Now. The floating vocalise at its end is ravishing.

So far so conventional, you might say, but there’s more. On almost half the tracks on Pinning Clouds there are musical references to classical or operatic composers, some applied sparingly and others to the fore. There’s homage to Mozart in Hallelujah, for example, gracefully done. You’ll Never Walk Alone from Carousel is interwoven with Ralph Vaughan Williams’s The Lark Ascending surprisingly effectively; and in Michael Kunze and Sylvester Levay’s Gold von den Sternen (Gold from the Stars) from Mozart! (yes, such a musical does exist), opera–lovers will identify Soave sia il vento from Cosi fan tutte, by Mozart, naturally. Each repays careful, repeated listening.

In what would have to be the most audacious collision of composers ever conceived, Barry Manilow’s One Voice takes on the Pilgrim’s Chorus from Wagner’s Tannhäuser. Does it work? Not to these ears, although one has to admire the passion that inspired it. Pinning Clouds has that in spades.

Pinning Clouds is available from fishfinemusic.com.au or to order via https://jacquelinedark.com/contact/

Strange Bedfellows – Bedlam, Leadbelly Newtown, Sydney, August 7 and 8.

Theatre artists of the year (and my inaugural Artist of the Year)

One person’s best is another person’s “I can’t believe we saw the same show”. Which if course we never do or can. We each bring to the theatre our history, our personality, our experiences, our experience, our tastes and our bête noirs.

So why these lists at year’s end? Well, they serve as reminders of ephemeral arts, they pay tribute to artists and they bring together things we saw through the year as individual events. Their power accumulates when seen collectively. They are proof of the richness of our cultural life.

Unlike my 2015 year in dance, which I posted on Tuesday, most of the theatre I saw this year – including musical theatre of all kinds – was in Sydney. There were also a couple of forays to New York, where much enjoyment was had.

Therefore, like my dance list, the following things are simply those productions and people I was really, really glad I saw.

By the way, for the first time ever I have decided to nominate an Artist of the Year. Scroll down to the bottom if you’d like to know right now.

2015 AT HOME

This year in Sydney the independent sector kept bobbing up with little gems. How producers and performers keep doing it with such limited resources is one of the great mysteries of life. Bless them one and all for their commitment. I hesitate to say poverty appears to be good for them but they are super-resourceful and awe-inspiringly creative. It was an honour to have seen Sport for Jove’s Of Mice and Men, Siren Theatre Co’s Misterman, Outhouse Theatre Company and Red Line Productions’ The Aliens, Oriel Group with Red Line Productions’ I Am My Own Wife, and Apocalyse Theatre Company’s The Dapto Chaser, seen at Griffin.

It was, you may have noticed, a pretty blokey time in the indie world (although Kate Gaul directed the wonderful Misterman). This became a subject of much discussion in 2015 and there are serious, sensible, inclusive plans to increase diversity right across the board in the live performance and screen arts.

Thomas Campbell - MISTERMAN 1

Thomas Campbell in Misterman, directed by Kate Gaul

That said, I was incredibly heartened to see standout contributions from some the small number of women writers and directors in this year’s theatre. Kate Gaul, as mentioned; Mary Rachel Brown, who wrote one of my year’s great favourites, The Dapto Chaser; Imara Savage at the helm of Sydney Theatre Company’s gloriously funny-sad After Dinner, by Andrew Bovell; playwright Lally Katz’s The Cat, half of the silly and sweet Belvoir Downstairs double bill The Dog/The Cat (Brendan Cowell wrote The Dog); and the miraculous American playwright Annie Baker (The Aliens).

I saw more than 200 shows this year in dance, theatre, musical theatre, opera, cabaret and circus and as I pondered the non-dance list it became clear that for me, it was the Year of the Woman as far as performance was concerned. Yes, I loved Ewen Leslie in Belvoir’s all-round engrossing Ivanov; Josh McConville in After Dinner – god that man is good; American tenor and rapidly rising superstar Michael Fabiano in Faust for Opera Australia; Simon Gleeson in Les Misérables; James Millar as Miss Trunchbull in Matilda; and, without exception, all the men in the indie shows I listed above (they had very, very strong casts).

Ivanov3

Zahra Newman and Ewen Leslie in Ivanov. Photo: Brett Boardman

Nevertheless, my memories glow just that bit more brightly when I think about the following …

I had just the best time at Matilda. Four times, in fact, as I went to see each of the girls in the title role. My admiration for Molly Barwick, Sasha Rose, Georgia Taplin and Bella Thomas knows no bounds. Each carries the show on very young shoulders. I had tears in my eyes at the end each time of this life-affirming show and may well pop down to Melbourne to do it all over again. Matilda starts there in March at the lovely Princess, which will suit it very well indeed. And there will be four new Matildas. A duty to go, really.

Also in Matilda, the heart-rendingly beautiful Elise McCann as Miss Honey.

And what about Amy Lehpamer? She’s unimprovable in The Sound of Music as she was earlier in the year for a much smaller audience as Tracy Lord in High Society at the Hayes in Sydney. Speaking of High Society, I was bowled over by Virginia Gay as Liz. She gave one of the most accomplished, nuanced and touching performances of the year and gave a master class in how to sing Cole Porter. Also at the Hayes, actor Mitchell Butel’s impressive debut directorial outing – the musical Violet – was crowned by Samantha Dodemaide’s blazingly passionate performance in the title role.

SOM5070_Production-Photography-by-James-Morgan_R-1024x681

Amy Lehpamer as Maria in The Sound of Music. Photo: James Morgan

It’s not an easy business getting a new musical off the ground but Queensland Theatre Company did it with Ladies in Black, with music and lyrics by Tim Finn and a book by Carolyn Burns. Based on Madeleine St John’s novel The Women in Black, it is packed with deliciously memorable songs and is unstoppably optimistic as it follows the dreams and aspirations of a young woman coming of age at the turn of the 1960s. It’s set in a women’s department store among the frocks, and thus is dominated by a big (and top-notch) female cast, headed as we speak for a season at Melbourne Theatre Company from January 16. Sarah Morrison plays young heroine Lisa Miles with a lovely mixture of determination and vulnerability.

Sarah Morrison, Christen O'Leary

Sarah Morrison as Lisa and Christen O’Leary as Magda in Ladies in Black

I pity anyone who missed Japanese soprano Hiromi Omura’s return visit to Opera Australia with Madama Butterfly (Sydney and Melbourne, after last year’s mind-blowing performance in Opera on Sydney Harbour’s Butterfly and an earlier visit to Sydney). Australian soprano Nicole Car is getting a fantastic – richly deserved – reception at the Royal Opera House, Covent Garden for her Tatiana in Eugene Onegin; luckily we saw her in Onegin and Faust this year and she will appear in OA’s Luisa Miller in Sydney very soon. It’s likely overseas houses will start snapping her up regularly. In the contemporary opera sphere, Jane Sheldon was unforgettable in Sydney Chamber Opera’s searing An Index of Metals.

NOTES FROM ABROAD:

I saw Annie Baker’s The Flick in New York with the original cast (Melbourne was fortunate enough to see a production directed in 2014 by Nadia Tass for Red Stitch and revived this year). It is the play – indeed the production among all art forms – I keep coming back to. The three-hander is set in a down-at-heel cinema where hope flickers as forlornly as the out-of-date film equipment the unseen owner insists on keeping. For close to three hours two men and a woman engage in desultory conversation while sweeping up popcorn, changing reels and jockeying for position. Brilliant.

I also had a fun experience with Theatre for One, which is exactly what it says. You pop into a booth and an actor performs a short play just for you. Sitting practically knee-to-knee, you have nowhere to look but into each other’s eyes. Interesting. I saw two works and wish I’d been able to stay to complete the set of six.

On the musicals front Christopher Wheeldon’s direction and choreography of An American in Paris were blissful and what a treat to be able to see the pint-sized powerhouse Kristin Chenoweth in Cy Coleman, Betty Comden and Adolph Green’s rarely seen On the Twentieth Century.

A detour into celebrity casting:

Call me shallow but I love it. Bill Nighy and Carey Mulligan in Skylight; Helen Mirren in The Audience; Darren Criss in Hedwig and the Angry Inch; New York City Ballet star Robert Fairchild in An American in Paris. Criss, best known for the TV series Glee, was the surprise package: a knockout.

ARTIST OF THE YEAR:

Jacqueline Dark as Amneris in Opera Australia's Handa Opera on Sydney Harbour - Aida. Photo Hamilton Lund

Jacqueline Dark in the eye of the storm as Amneris in Handa Opera on Sydney Harbour’s Aida. Photo: Hamilton Lund

Okay folks, I’m calling it. My Artist of the Year is Jacqueline Dark, thrilling and versatile mezzo frequently seen with Opera Australia; kick-arse cabaret artist who can write her own material, as we saw in Strange Bedfellows, her cheerfully outrageous show with partner in crime Kanen Breen; and now music-theatre sensation with her Mother Abbess in The Sound of Music. Obviously she can get to the summit and back with ease in Climb Ev’ry Mountain, but she gets the acting part of it so right too. That said, Dark could have won this title just on the basis of her courageous performances as Amneris in Opera on Sydney Harbour’s Aida early this year. Apart from the challenge of having to sing from on high – you can just see Dark in Nefertiti’s eye – the weather was appalling, costumes became waterlogged and thus as heavy as a hod of bricks, and yet the show had to go on. Dark sounded fabulous, of course. She is a trouper of the highest order.

Jacqui Dark, Kanen Breen. Pic- Kurt Sneddon

Strange Bedfellows Jacqui Dark and Kanen Breen. Photo: Kurt Sneddon

 

Verdi to the Divinyls

See, they say ‘Get to your homes ASAP, stay inside, stay protected, don’t drive unless absolutely necessary and stay away from waterways’ and I hear ‘Hop in your Holden and get on down to sing an opera set in the desert on a floating pontoon with no sides or roof, on the biggest body of water in the immediate vicinity in a sleeveless chiffon dress.’ Cos that’s just how I roll, bitches!

– Jacqueline Dark, mezzo-soprano, preparing for a Handa Opera on Sydney Harbour performance of Aida on April 22 (April 21 performance were cancelled due to “unprecedented weather conditions” and the big wet was by no means over).

IF you’re not regularly checking in on Jacqui Dark’s larger-than-life life as chronicled on her Facebook page you are doing yourself a grave disservice. Irreverent, smart, exceptionally funny and greatly gifted, Dark is a cherishable original.

Tonight she gives her final performance as the vengeful Princess Amneris in Aida for HOSH, the last of 13 shows for her cast (it alternated with another). Early afternoon precipitation flagged a potential Singin’ in the Rain show as it was on Tuesday (interval Facebook post: “Our dressing room smells like wet dog …”), although things were looking brighter by mid-afternoon. But rain or no, the performance was expected to go ahead. [NOTE: Aida was indeed performed, although social media photos of Daria Masierio, in the title role, wearing a cape in the second half over her sleeveless gown suggested conditions were chilly.] Opera singers are not quite the precious, cossetted creatures of (lazy) general opinion. In fact, says Dark, difficult conditions can warm create camaraderie between audience and singers. “It’s like we’re all in this together, let’s make this something special. They appreciate us continuing and we appreciate them sitting there.”

Keeping an eye on things ... Jacqueline Dark as Amnesia is Handa Opera on Sydney Harbour's Aida. Photo: Hamilton Lund

Keeping an eye on things … Jacqueline Dark as Amneris in Opera Australia’s Handa Opera on Sydney Harbour’s Aida. Photo: Hamilton Lund

It’s been a testing schedule (Amneris is a big sing to tackle every second night) but there’s no time for rest after tonight. On Wednesday Dark will be onstage at Sydney club The Vanguard in corset and fishnets singing Brecht, Weill, Amanda Palmer, Rickie Lee Jones and some of her own material in Strange Bedfellows: Under the Covers. By her side will be Kanen Breen, fellow opera star, multiple Helpmann Award winner (as is Dark) and gay co-parent although not biological father of her son Alexander, nearly three. It goes without saying he’s an original too (well, I mean Breen, but it sounds as if Alexander is proving to be rather an individual himself).

Not all opera singers can successfully make the transition from Verdi to the Divinyls – also on the Under the Covers songlist – or indeed to other forms of music considered less challenging than opera. It’s trickier than it may seem to conquer an entirely different vocal technique and musical style, as the, ahem, unidiomatic Kiri Te Kanawa-Jose Carreras foray into West Side Story amply demonstrates. But Dark was singing cabaret and musicals right from the start, about 20 years ago, and although Breen came later to the cause, he proved at the first Under the Covers performances late last year he could have been born in a smoky bôite. (Read my review for The Australian of the December show here.)

So yes, Dark and Breen can certainly do it, despite preconceptions some might have about opera singers straying from their usual realm. It’s early days but interest has been keen. Dark and Breen have successfully taken their show to Melbourne’s Butterfly Club and will appear at this year’s Queensland and Adelaide cabaret festivals. There is a DVD in the making, a venture in Melbourne late this year that can’t yet be discussed and some thoughts about perhaps taking Strange Bedfellows offshore next year. The two are also throwing around ideas for a new show to succeed Under the Covers – perhaps something with a dark, Grimm’s fairtytale kind of theme. “We’ve got enough repertoire, even in a narrowed down list, to have enough stuff for three or four shows,” says Dark. “Plus we keep hearing things and say, ‘we have to sing that’.”

Strange Bedfellows Dark and Breen. Photo: Kurt Sneddon

Strange Bedfellows Dark and Breen. Photo: Kurt Sneddon

“We have to sing that” is undoubtedly the key to the passion project that is Strange Bedfellows – that and the bond forged between Breen and Dark together 20 years ago when they sang in the chorus of the now-defunct Victoria State Opera’s production of Gilbert & Sullivan’s Ruddigore. It’s safe to say the production was something of a disaster (I saw it) but at least Breen and Dark got their deep connection out of it. A further result: actor, satirist, writer and director Jonathan Biggins was also in the cast and has offered to advise the Strange Bedfellows.

They’d welcome that, because at the moment the two are multi-tasking with a vengeance. For this aspect of their working life they are their own writer, wardrobe designer, manager, agent, entertainment lawyer and public relations specialist. They’ve worked their contacts and social media, had some crucial help from friends and work with Daryl Wallis as music director, but essentially Strange Bedfellows is a two-person outfit. They’ve made the pitches to venues and festivals, they sort out their own contracts, and if something goes wrong with lighting or sound they have to take charge. (Dark says something about learning how to do a lighting rig and I’m not sure she’s joking. She could probably do it – she is quite the brainiac with a degree in physics.)

They even arranged a series of celebrity endorsements that may be seen on YouTube. I heartily recommend that of beloved Australian soprano Emma Matthews; others offering their thoughts are Lou Diamond Phillips, Stuart Skelton, Cheryl Barker and Kate Miller-Heidke. Those contacts are fairly speccy.

It is, however, a far cry from the world of a big company like Opera Australia, where until recently the two were permanent ensemble members with everything on tap. Becoming a freelance artist has brought its uncertainties but also its rewards. Chief among them was the opportunity to bring Strange Bedfellows to life. It’s an idea they’ve been throwing around for about 15 years. They even wrote some material, including a version of Cole Porter’s Let’s Do It that Breen sings for me, with Dark joining in. Let’s just say time hasn’t diluted any of its deliciously subversive taste.

The desire to challenge and provoke remains today, with Exhibit A a pedophile-inspired medley in Under the Covers and Exhibit B a song involving a dog – not a real one, as a complainant seemed to think – and unusual sexual practices. A later show might include something about violence against women. They don’t want to be preachy, they say, but along with being entertaining they do want to make audiences consider some unsettling issues. “If people go away questioning themselves, that’s a start,’’ says Dark.

“I’ve always wanted to do a cabaret show. I absolutely love it, the intimacy of it. Kanen and I had been on salary [with OA] – me for 10 years, Kanen for 15 years. If you’re full-time you have a very heavy workload and we never had time to do it before. It’s incredibly exciting to create your own work – terrifying, but incredibly exciting. And it’s great to push yourself to do, but you feel so vulnerable. Excited and scared, as Sondheim would say.”

While Strange Bedfellows might be fulfilling, the amount of behind-the-scenes organisation it takes is “laborious and exhausting”, says Dark. Not to mention not exactly lucrative at this point. Happily, however, Dark and Breen are far from disappearing from the operatic sphere. Dark is covering the role of Eboli in Opera Australia’s Don Carlos and sings the role of Marcellina in the new David McVicar production of The Marriage of Figaro. Breen appears in the Melbourne season of Miller-Heidke and Lally Katz’s The Rabbits for Opera Australia and is Beadle Bamford in Victorian Opera’s Sweeney Todd, among other engagements.

That work is their bedrock and helps keep the bank manager happy, but in their new situation they have also to make their own opportunities “and not sit on our bums and wait for work to come to us and assume it’s going to”, says Dark. “You’ve really got to get out there. The more we’ve done that the more we’ve loved that.”

They are incredibly disarming in their modesty about what they’re doing and their roll-up-the-sleeves attitude to getting the job done. Says Breen: “We’re not saying we’re experts at cabaret or that we’re particularly gifted, but what we do have is a preparedness to give it a red hot go and immerse ourselves in the style and emotion of the music, which is what we both get out of our opera work as well.

“It’s very rewarding to us as performers to be able to explore different avenues of that expression and delivery that isn’t always afforded on the operatic stage.”

Cabaret:

The Vanguard, Sydney, April 29 and May 3; Adelaide Cabaret Festival, June 5-7; Queensland Cabaret Festival, June 14; Melbourne Cabaret Festival June 19-20.

 Opera:

Don Carlos, Opera Australia, Melbourne May 20-29; Sydney July 14-August 15; Sweeney Todd, Victorian Opera, Melbourne, July 18-25; The Marriage of Figaro, Opera Australia, Sydney, August 6-29; The Rabbits, Opera Australia, Melbourne, October 9-13