When I was invited to a new adaptation of Jane Austen’s novel Persuasion, I must admit I was a bit sceptical, probably because my mind immediately went to a chorus line in period costume.
But in the hands of the Chamber Opera of Chicago, this was a much more refined proposition.
Adapted by company director Barbara Landis, this version of Persuasion takes melodies from Jane Austen’s own collection of manuscripts, combined with lyrics from her letters, poetry and novels, to create songs that fit seamlessly into the narrative.
The play begins with a discussion between Jane and her niece and nephew about her latest work, and these characters then step into the story, with Jane taking on the role of the lead character, Anne Elliott.
This means that throughout, the character of Jane is able to step back from the story of Persuasion and narrate for the audience, which is an elegant device that fills out the parts of the story that aren’t pure dialogue, and makes it easier to follow as well (I’ll freely confess that I’m always afraid of getting lost in plays like this, so I was delighted).
Although Persuasion is one of Jane’s more melancholy novels, dwelling on the love between two people who both believe the other to have moved on, and with much less of the authoress’s trademark biting humour, there is (spoiler alert) a happy ending.
Landis has taken the opportunity to add a sprinkling of humour in the character of Sir Walter Elliot, Anne’s father, and also used the music to lift the story – the stirring rendition of None Can Love Like An Irishman, complete with a stunning display of Irish dancing, ends the first act on a glorious high note.
Instead of a complex set, the play makes use of a beautiful collection of photographs taken specially for the occasion, projected against the backdrop.
I’d never seen this technique used before but it was very well handled and amazingly effective – plus, of course, as Persuasion is partially set in Bath, it was lovely to spot a few shots of our own Assembly Rooms and Roman Baths.
Landis’ next project is Northanger Abbey (also set in Bath), a novel she describes as “perfect for opera voices”, and I can only hope the Chamber Opera of Chicago will find their way over here again, to bring the work of Bath’s favourite lady to life in their own highly original way.
For more information on the Chamber Opera Chicago, visit their website: http://www.chamberoperachicago.org/
Our thanks to Sally Godfrey for this brilliant review of the performance.
