Posts Tagged ‘the lady of the house of love

27
Nov
16

The Lady of the House of Love

The Lady of the House of Love

Brisbane Powerhouse with Electric Moon

Brisbane Powerhouse Turbine Studio

November 24 – 27 2016

Reviewed by Xanthe Coward

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FOLLOW ME.

Sandro Colarelli’s The Lady of the House of Love brings Jake Diefenbach’s extraordinary original song cycle and Daniel Evans’ luscious adaptation of Angela Carter’s vampire queen tales to the stage in true gothic style. It’s one of my favourite productions ever, instantly, and it just might be one of the most perfectly crafted and presented boutique cabaret works of all time. I hope you saw it. Even if you’d seen it before (2008 & 2013) this is a dark, alluring tale told so beautifully intimately it could easily be enjoyed again, just as you listened time and time again as a child to your favourite fairy tales, or you might now watch the first two or three seasons of True Blood a second time, or a third time because Alexander Skarsgard…

LA PAPESSE. LA MORT. LA TOUR ABOLIE.

Colarelli is a master storyteller, a captivating performer, creating old world horror and charm in just one look, and glorious life and death in a single breath. (And the application of the breath and the voice here is impressive). The beauty of the piece is in its imagery, effortlessly conjured by Colarelli using Diefenbach’s haunting compositions, and the full extent of the vocal range and evocative language. Every word is deliberate, every vowel and consonant exquisitely shaped and delivered, the voice rich and full, words falling over us like the largest, heaviest raindrops. We sit in the candlelight and let ourselves be drenched in a world of the darkest beauty/horror.

WISDOM. DEATH. DISSOLUTION.

The High Priestess. Death. The Tower. Colarelli tells of how The Countess, forlorn in her mother’s bridal gown and looking for welcome relief from her life of living death, lures the men who come to her door. One night, when her tarot cards offer love for the first time, a British soldier appears and she seduces him with her red lips and tragic timeless beauty. The soldier is taken in by her and desires only to comfort her. As The Countess discards her gown, her dark glasses fall and shatter on the floor. She cuts herself on a shard of glass and the soldier kisses her wound to stop the blood. The next morning he discovers The Countess dead, clutching a (highly erotically charged and beautifully symbolic) rose, which he takes and puts into water in his efforts to revive (“resurrect”) it. The soldier is overwhelmed by the flower’s “corrupt, brilliant, baleful splendour” and prepares to take up arms in France.

The beauty, ache and enduring quality of Diefenbach’s original compositions means this music lingers long after the lights have come up, and the iTunes release of the show’s soundtrack (2013) means we can disappear again and again into the luscious life and death of The Countess. I’ve been lost in it for days again. If only the entire show was made available on audible.com.au

PSYCHOTIC. EROTIC. PERFECT.

Through A Window is vaguely reminiscent of Adele’s Someone Like You and Racing Into Springtime has an early, stripped back Tori Amos feel, as the innocent soldier/prey is drawn to the castle, before the seduction begins proper with a succession of enchanting songs interspersed with narrative (Too Many Roses, Across the Threshold and Becoming). The Exchange could be either the first or final heartbreaking track in a box office smash hit, so cinematic are its eerie discordant sounds and perfect plot summary.

COME TO ME.

Colarelli is nothing less than mesmerising as the tormented temptress, the naive soldier and Narrator.

The Lady of the House of Love is probably the most beautifully realised, darkly erotic and unashamedly exotic boutique production I’ve ever seen. I’m so glad I didn’t miss it. If only I had the venue in which to put this performer and this production on a regular basis. We all need more Colarelli in our lives, and probably a good deal more of this brand of dark and sensual storytelling, without the hype and inevitable disappointment that comes from Hollywood having a hand in it.

There was a soldier, there was a girl…….

01
Aug
13

The Lady of the House of Love

 

The Lady Of The House of Love

Presented by the Queensland Music Festival, Brisbane City Council and Metro Arts

Metro Arts Sue Benner Theatre

26 July – 3 August 2013

 

Reviewed by Guy Frawley

 

Let’s just cut straight to the chase here, I’m about to give you roughly 500 words on why I think you should pull out your credit card, log onto the metro arts website and book yourself (and hopefully your friends) tickets to go and see The Lady of The House of Love. If you’re not in a reading mood however, let me just lead with the sentence below.

 

This show is a one hour reduction of utter professionalism that showcases everything I love about the creative process.

 

Inspired? Please, do yourself a favour and book yourself a ticket or two. Intrigued? Read on.

 

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On Friday night I walked into Metro Arts with little to no idea of what I was about to witness, a basic level of Facebook stalking had educated me enough to know that the British author Angela Carter, in the form of her anthology The Bloody Chamber, had provided the source material for the evening. However, apart from this and the glam rock marketing photos, I was flying blind. Goth chic styling and a 70s horror literature pedigree alone isn’t something to sniff at, but Sandro Colarelli injects this performance with sufficient backbone to rib a second Victorian lace corset! (More on the corset later).

 

Walking into the theatre and taking my stage side seat, my curiosity was further piqued by the staging. At the same time monastic and lush, the simple down spotlight shining through the intricately carved wooden partition, and the dusting of rose petals across the naked stage began to set the scene. Set designer Josh McIntosh and Lighting designer Andrew Meadows really managed quite a lot with very little.

 

As the stage darkened and the first haunting musical notes began to sound, Colarelli emerged from behind the wooden screen and began to welcome us into his theatrical inner sanctum. The meaning of the partition itself seemed to warp throughout the show as many times as Colarelli, from altar, to boudoir screen to confessional partition. We were not met however by a priest offering benedictions, but by a siren of the gilded silver screen, wrapping her enchanted and undead talons around our very beings and dragging us into the magical realism of Angela Carter’s dark world.

 

A story told from two perspectives, that of a cunningly frail, un-dead nymphette and a naïve, young English soldier, Daniel Evans has done a really beautiful job adapting the script from Carter’s original prose. After seeing this show I tracked some sections of The Bloody Chamber and Evans has managed to translate the sumptuous usage of language and imagery that Carter seems to do so well.

 

Maybe it’s a product of his experience with the physical theatre company Zen Zen Zo, but Colarelli is a man who is in absolute control of every inch of his body for every second of his time on stage. A talent that makes his attempt to portray both of the previously mentioned characters a complete success. His vocal abilities were also an absolute delight to witness. The character and emotion he was able to convey, even whilst jumping from perspective to perspective in the blink of an eye, was truly enviable. That he was able to do all of this whilst constricted within a cinched corset made it all the more impressive.

 

I’ve always loved vampire fiction, my first real introduction being Anne Rice’s Vampire Chronicles, and after the disappointing failure of the Elton John penned musical Lestat I think she should have a word or two with Jake Diefenbach, who served as both composer and musical director. I doubt the creative team would be overly thrilled with me using the phrase ‘vampire musical’ anywhere here, but from what I saw on Friday, Diefenbach  would have been a far better fit than Elton John. His score was absolutely fantastic and you’d be a fool to leave the theatre, as I did, without purchasing yourself a copy of the soundtrack that’s available. I’ll be swinging by Metro Arts when I’m back in Brisbane later this week, and will be grabbing myself a copy as I haven’t been able to get the music out of my head!

 

 

I read an interview Colarelli had given just before opening and he mentioned how blessed he felt to be working with such an amazing team. It’s no wonder, because from what I saw it would appear as if every single person involved in the development, production, staging and performance of this piece is as talented in their own field as Colarelli is as a performer.

Now go and see this show! I just might see you there during my second time around.