The Telephone Program

WESF1486 9/2019

THE TELEPHONE A digital adaptation of Menotti’s one-act comic opera Composer & Librettist Gian Carlo Menotti Music Director Chris van Tuinen Director Katt Osborne Set and Costume Designer Tyler Hill Producer/ Film Director Sean Finney Lucy Chelsea Burns Ben Lachlann Lawton Pam Bernadette Lewis Production Manager Mandy Farmer Stage Manager Karen Farmer Director Photography Duane Orriss Sound Jeremy Turner Lighting Dion Borrett Assistant Director Natalie Hind 2nd Assistant Director Mel Branson Assistant Camera Deland Tay Assistant Camera Mahalia Fruin Wardrobe Sue Kerr, Mandy Elmitt Hair Virginia Hawdon Makeup Sharon Krywood Set Installation Eoin O’Brian, Matt Power Surtitles Allison Fyfe

Director’s Message “The score has naturally inspired the production’s visual style and editing. The rhythm of repeated call interruptions, and the delayed moments of duet or synchronicity, inspired how I have directed the singers and framed their performances.”

I was thrilled to be invited by Chris van Tuinen and WA Opera to work on this ‘digital opera’. My directing style is heightened, theatrical and playful – and I love logistical challenges! An isoadaptation of Menotti’s one-act comic opera was a playground for our team of creatives.

The Telephone is a story about connection and the ways technology has changed how we interact. In this year’s context of increased remote communication, video calls and Zoom meetings, we have all become hyperaware of the wonders and perils of communications technology and how it can rewire our intimate relationships.

Exploring how we connect to other people, especially our intimate partners, was the starting point for our adaptation.

We began with the simple idea that instead of the telephone, Lucy would communicate via Zoom and video calls.

Given our production is entirely digital, we leaned into ‘the Zoom call’ as a visual framing device to tell the story of Lucy and Ben’s repetitive missed connections.

Tyler Hill (our designer) and I spent a long time working out how Ben and Lucy’s home would look and feel. The sky-blue cardboard space convey brightness and a yearning for the outside world, while also being oppressive and restrictive. Our aim was to capture what living, working and communicating in isolation has felt like to us and many others.

We also wanted the design to comment on how it has felt for us making a digital opera. How do we preserve a sense of live performance, and the things people love about opera, in a digital work? The very concept of liveness is currently ‘under construction’. Our set captures some of what we, the creatives, feel about making work in a very strange time.

The score has naturally inspired the production’s visual style and editing. The rhythm of repeated call interruptions, and the delayed moments of duet or synchronicity, inspired how I have directed the singers and framed their performances. We’ve also allowed ourselves the permission to be expressionistic: as the singers finally connect, for example, we allow them to exist in the same space together (although in ‘reality’, they are apart).

I’d like to thank everyone who came on this journey of creative experimentation.

This is one of the quirkiest ideas WA Opera has ever programmed, and I’m indebted to their willingness to run with our ideas, their faith in a new cross-artform collaboration, and their support for some incredible young artists. I hope you, our audience, enjoy this digital comedy.

Katt Osborne DIRECTOR The Telephone

Music Director’s Message “For Menotti, the installation of telephones in people’s houses during the first half of the twentieth century was a challenge to personal communication. It was also a great moment for comedy” Like most artists, the events of this year have forced me examine and explore what can be achieved when our traditional models are shutdown. Specifically, what can opera bring to the isolation resulting from this virus?

So what’s happened to our communication during this time? For me, it’s meant a delightful time at home with those I love, dealing only digitally with work colleagues (of whom I’m also quite fond) and an uptick in the volume of email I’m writing.

How do we replace the sense of connection and community that comes from storytelling in a shared space and the thrill of unfiltered sound, searing directly to the ear, in a combination of massed effort and control?

There are different qualities to the communication that occur in person verses electronically and this brings us to The Telephone. For Menotti, the installation of telephones in people’s houses during the first half of the twentieth century was a challenge to personal communication. It was also a great moment for comedy.

We’ve had recordings for some time, so that experience is well known and beloved, a way of access, overcoming the boundaries of time and space. Also, allowing us to consume at our own pace, turning things off or down when you lose interest (or maybe that’s just my short attention span!), or repeat and repeat without damaging the soprano’s vocal cords.

Live communication of opera or concert music is less common though the broadcasting of concerts can bring people “into the room” and allow them to be voiceless participants, their applause adding nothing to the performer’s feedback loop but loving the moment just as much.

Our couple have different approaches or priorities in their communication with each other. One outward and uninhibited, one more introverted and less comfortable in the verbal.

I think this happens to us anyway, naturally we’re more relaxed around some than others but the present extreme divide between “in person” and “on screens” has exaggerated some of those differences, meaning that the technology can bring us closer to some people and make more distance between others.

Plus, by focusing on one thing, we may miss what’s right in front of us.

I hope you enjoy The Telephone.

Chris van Tuinen MUSIC DIRECTOR West Australian Opera

Executive Director’s Message “The power of the arts has been evident during these months of isolation and social distancing and I thank you for staying connected with your state opera company”

We have all faced many challenges throughout several months of pandemic and we are all becoming familiar with new ways of being and working.

The power of the arts has been evident during these months of isolation and social distancing and I thank you for staying connected with your state opera company.

West Australian Opera remains dedicated to sharing the magic of opera and while we are away from the stage, we have been working in the ghost light.

Art lies at the heart of our community. The past few months of isolation have proven the value the of the arts to nurture the soul; to soften the hardness of everyday life.

One project to emerge from our time away from the stage is the adaptation of Gian Carlo Menotti’s The Telephone. This has given performance opportunities to Wesfarmers Arts Young Artists Chelsea Burns and Lachlann Lawton and enabled the company to work with a new team including director Katt Osborne and costume and set designer Tyler Hill. The work was filmed on location in the home of WAO’s Music Director Chris van Tuinen.

Thank you for your continued support of your state opera company as we continue to navigate the challenges of COVID19. I would like to personally thank you for your emails, messages, ticket donations, EOFY ‘Keep the Ghost Light Burning’ donations

Thank you to our patrons, partners, donors and government who have continued to support us. Thank you Principal Partner Wesfarmers Arts, Department of Local Government, Sport and Cultural Industries, the Australia Council, Lotterywest, City of Perth, Minderoo Foundation, Healthway and Act-Belong-Commit.

Carolyn Chard AM EXECUTIVE DIRECTOR West Australian Opera

Chris van Tuinen

Katt Osborne

Christopher graduated with a B.Mus from the Victorian College of the Arts in 2001. In 2005 he completed a Masters in Conducting at the VCA. Experienced in both vocal and instrumental music he was awarded the John Williams Conducting Scholarship for 2004-5. He also holds a B.A. from the University of Queensland, an LLB from Q.U.T. and an A.Mus.A from the AMEB. He has been nominated by the Musical Theatre Guild for Best Music Direction and received a Green Room Award nomination in the ‘Best Conductor’ category.

During 2008 and 2009 he was a member of the Young Artists program as a Conductor with Opera Australia.

Katt Osborne is a director, performance maker and creative producer. She was a co-founding artistic member of The Last Great Hunt, a 2018 Resident Artist (Director) with Black Swan State Theatre Company and is currently the Co-Artistic Director of Riptide Youth Performance Company.

Notable credits include: DIRECTOR (THEATRE): WAAPA: Love Me Tender.

Riptide: The 1s, The 0s, And Everything In Between, Walk With Me, Queen Leah.

The Last Great Hunt: The Crossing, Elephents, Minnie & Mona Play Dead. The Duck House: One Night Echo, They Ran ‘Til They Stopped, The Bearskinner. DIRECTOR (OPERA): Operabox: Ariadne Auf Naxos (Strauss), The Old Maid & The Thief (Menotti).

PRODUCER (OPERA): Lost and Found Opera: Acteon, Don Procopio. Notable directing credits include: ASSOCIATE DIRECTOR: The Malthouse Theatre and Black Swan State Theatre Company:Cloudstreet.

ASSISTANT DIRECTOR: Black Swan State Theatre Company: Our Town, Xenides. The Old Vic: Dr Seuss’s The Lorax.

AWARDS: 2016 WA Young Achiever of the Year for Arts; 2013 Fringe World Martin Sims Best New WA Work for Minnie & Mona. TRAINING: 2007 Bachelor of Arts Contemporary Performance.

Music Director

In 2007 Chris was appointed as the inaugural Conducting Fellowship at the Australian Ballet. He has worked with the WASO, Orchestra Victoria, AOBO and the QSO. His previous roles include WA State Manager for Musica Viva, Classical Music Program Manager for Perth Festival, Chorus Director for WASO, Conductor of UWACS, Musical Director of Fremantle Chamber Orchestra. He was Artistic Director of Lost & Found Opera and is currently Music Director of West Australian Opera.

Director

Tyler Hill

Sean Finney

Tyler is a Set and Costume Designer for live performance, events and exhibitions in Australia. Most recently, he was the Design Associate for Perth Festival 2020. Tyler is a graduate of the Western Australian Academy of Performing Arts (BA Performing Arts, Set & Costume Design) and alumni of the Black Swan Resident Artist Program. His design credits include You Know We Belong Together (Black Swan, Perth Festival and DADAA), Our Town (Black Swan and Perth Festival), Hir, The Eisteddfod, Endgame (Black Swan), Actéon, Trouble in Tahiti (Lost & Found Opera), Tom Vickers and the Extraordinary Adventure of his Missing Sock (Spare Parts Puppet Theatre and WA Museum). After winning the David Hough Award for Outstanding Achievement in Design (WAAPA, 2016), he was seconded to Elizabeth Gadsby on Sydney Theatre Company’s production The Hanging and then with Zoe Atkinson on Perth Festival’s Opening Ceremony Home. Subsequently, Tyler was then honoured to be Design Assistant on Boorna Waanginy: The Trees Speak. His film credits include drafting for The Furnace, Dirt Music and Otherlife.

Concurrently, Tyler is pursuing a Master of Architecture at University of Western Australia.

Connect on the web https://www. tyler-hill.com.

Sean Finney is a Director and Editor currently based in Melbourne, after growing up in Perth. Working predominantly in the music and visual art industries, Sean works to capture and tell stories that inspire and connect with audiences.

Set and Costume Designer

Producer/Film Director

Initially training at the Central Institute of Technology in Photography, Sean moved in to Directing and filmmaking in 20212, his focus has been on that since.

Sean has been working with West Australian Opera since 2017, starting with their 50 years “Telling Stories” series.

His perspective and style has earned him opportunities to work with national and international artists and clients covering everything from docu-series, music festival circuits and adventure travel to more recently working with WAO on their Ghost Light digital initiatives.

Sean is constantly trying to find new ways to explore visual storytelling through film.

Inspire health and happiness

with music

It’s as simple as A-B-C! Music can follow you wherever you go. Getting involved in the arts provides a sense of joy and inspiration, and can be a healthy distraction from everyday worries. It’s as simple as A-B-C: Act-Belong-Commit. To find out more ways to stay mentally healthy, visit actbelongcommit.org.au

Chelsea Burns

Lachlann Lawton

Bernadette Lewis

Chelsea Burns is an Australian born soprano. She has recently completed her Master of Music at the Royal Northern College of Music under the tutelage of Mary Plazas and Ann Taylor.

During her studies, she trained as a mezzo-soprano and her stage credits at the RNCM include Carmen in a concert version of Bizet’s Carmen, Louise in Offenbach’s La vie Parisienne, and Didymus in Handel’s Theodora.

Lachlann Lawton is a Western Australian baritone who started his singing career in Bunbury.

Singing in musicals and in school choirs at a young age.

Bernadette is a dance artist working across performance, choreography, improvisation, teaching and community engagement.

Lachlann completed a Masters of Music at the Royal Northern College of Music in Manchester, England and studied with esteemed baritone Quentin Hayes. At the RNCM Lachlann performed the roles of The Pilgrim (The Pilgrims Progress), Marco and cover Gianni Schicchi (Gianni Schicchi), Peter (Hansel and Gretel) and Escamillo (Carmen). Lachlann completed a Bachelor of Music in Classical Performance and a Graduate Diploma of Music at the Western Australian Academy of Performing Arts (WAAPA) under the teaching of both Patricia Price and Michael Lewis. Whilst at WAAPA, he performed the roles of Giorgio (La serva e l’ussero), Professor Bhear (Little Women), Peter (Hansel and Gretel), Demetrius (A Midsummer Night’s Dream), and Sid (Albert Herring).

A WAAPA and LINK Dance graduate, she has worked extensively across Australia, performing in works by Tasdance, Anton, Frances Rings, Sue Peacock, Shona Erskine, Jo Pollitt, Didier Théron, Natalie Allen, and Maxine Doyle. In 2014 she was nominated for most outstanding female performer at the WA Dance Awards.

Lucy

Chelsea is a current member of the Westfarmers Arts Young Artist program at West Australian Opera, a position she has held since 2019.

Over 2018, Chelsea was fortunate enough to work with Opera North in Leeds, UK. She shadowed the role of Kate Pinkerton in Tim Albery’s production of Puccini’s Madama Butterfly and was a part of their Chorus Mentorship Scheme.

Before moving to England, Chelsea attended the prestigious Western Australian Academy of Performing Arts.

She graduated in 2014 with a Bachelor of Music and again in 2015 with a Graduate Diploma of Music. Patricia Price and Linda Barcan oversaw her tutelage at this academy. Her stage credits at WAAPA include the Witch in Humperdinck’s Hansel and Gretel, Marianna in Ricci’s La serva e l’ussero, Oberon in Britten’s A Midsummer Night’s Dream, and Cecilia March in Adamo’s Little Women.

Ben

In 2017, Lachlann was a member of the Western Australian Opera chorus, and also performed the role of Schaunard (La boheme) with Freeze Frame Opera. Lachlann is also a fitness enthusiast and will be commencing a course to gain a certificate in personal training so he can help other opera singers stay physically fit, and avoid tension with specific workouts designed by himself.

Pam

Her choreographic work includes new commissions by WAAPA, movement consultation for new theatre works by The Last Great Hunt and Riptide. Her first full length work, The Honeymoon Suite, was the recipient of the FRINGE WORLD Dance and Physical Theatre Award (2018).

Bernadette also works passionately in the field of teaching and community engagement, partnering with leading organisations such as Co3 Australia, DADAA, TRACKSUIT, MANPAC, STRUT Dance, WAAPA, WAYTCo, WA Ballet, Ausdance WA, FORM, Propel Youth Arts and Dance For Parkinson’s.

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