REVIEW: DER VAMPR presented by Gothic Opera at Arcola Theatre 14 – 17 August 2024

‘Sizzling gothic opera with a feminist slant’ ★★★★

Gothic Opera was founded in 2019 to bring lesser known spooky and supernatural shows to the stage.  Der Vampyr was chosen for their inaugural production, and they are now revisiting the same show for Grimeborn Opera Festival 2024 at Arcola Theatre.   The festival is a cheeky nod to Glyndbourne Opera in East Sussex with its summer programme of world class productions. Grimeborn offers a much more accessible and affordable Opera fest to London audiences.

Der Vampyr, is a Romantic opera in two acts by German composer Heinrich Marschner, first performed in 1828, based on a short story by Heinrich Ludwig Ritter.  Gothic Opera have updated the story to give a sexy and gory feminist retelling. The opera opens with Jante on the balcony, apparently wiping her menstrual blood on a rag and strapping up her leg for a phlebotomy, not for the squeamish as the blood travels down the tube and into a bottle, a perfect snack for vampires.  Although it doesn’t sound very sexy, the way it is done, and the gothic costuming makes this a sizzler. This perfectly sets up audience expectations of a more visceral and feminine take on the opera than earlier versions might have allowed. 

The vampire Lord Ruthwen swears to the vampire mistress to fulfil her mission and sacrifice three young women within 24 hours in order to be allowed to live for another year. His first conquest, Jante, is already longing to submit and to receive eternal life as her reward. His next victim, Emmy, who is about to be married to local drunkard, is also willingly seduced by Ruthwen. However, his final quarry is much harder to win over. Malwina eagerly awaits her lover Edgar Aubrey, whom she wants to introduce to her father, Lord Davenaut, but another fate awaits her, as Davenaut has already promised her to the wealthy Earl of Marsden. Marsden is Ruthwen in disguise. However, Malwina is a modern woman, and fights for her freedom, ultimately making her own choices and wreaking revenge on male domination.

The original score by Marschner included a serpent, a lyre and an early form of tuba to give  his opera a rather unusual soundscape. The company have kept some of the quirks of the original opera, albeit using more conventional instruments for their live performance. Some strange sounds, guttural and even bestial, come from the musician’s chamber, and similarly from the performers. Plaudits must go to the singers and their range of voices from Davenaut’s bass (Conall O’Neill) to Aubrey’s tenor (Jack Roberts, and the three sopranos (Milena Knauß, Madeleine Todd and Amber Reeves).

In truth (for me at least) Giuseppe Pellingra as Ruthven stole the show with his rich baritone voice. He appears to have found his inner vampire for the role, with his lascivious desire for blood, love of power, and supreme arrogance. Oh, he is charming, and when Emmy falls for him, and exhausts him sexually, he quickly recovers his strength as she succumbs to his designs for her. Two brides now achieved, and only one to go. Milena Knauß as Malwina is also a knockout with a brilliant soprano voice, and she easily straddles the line between mere mortal and crazed avenging woman. It is actually quite a pretty sight, and it is certainly a very blood-soaked sight.

There is comedy in the opera. The picnic rug which is spread on the ground as Ruthven seduces his quarry. Ruthven falling on a stake, and the squeaky cries he makes in the dying embers of his life, a wonderfully protracted stage death. Or perhaps, musician Iain McDonald coming round with his Sousaphone holding out his cap for tips. The latter might remind us that putting on a show with such a large cast is expensive and so its only fair to overlook some of the budgetary demands on the wardrobe, scenery and props, whilst also admiring some of the more expensive looking rich fabrics and beautiful designs for some of the gothic costumes. They were perhaps a little anachronistic, but after all, a day in the life of a Vampyr might very well span years in the life of Human being.  A suspension of disbelief is essential.  

Der Vampyr offers a complete evening of entertainment and the two hours, twenty minutes (with interval) slips by so easily. Highly recommended, good fun and excellent value for money.

Gothic Opera presents

DER VAMPR

Composed by Heinrich August Marschner

New arrangement by Kelly Lovelady

Adapted and with new English dialogue Julia Mintzer and Charles Ogilvie

Box Office: https://www.arcolatheatre.com/whats-on/der-vampyr/

Cast

Giuseppe Pellingra

Ruthven

Milena Knauß

Malwina

Jack roberts

Aubrey

Amber Reeves

Emmy

Conall O'Neill

Davenaut

Madeleine Todd

Janthe

Matthew Scott Clark

Georg

Gráinne Gillis

Vampire Master

Creatives

Wilhelm August Wohlbrück

Librettist

Heinrich August Marschner

Composer

Julia Mintzer

Stage Director

Kelly Lovelady

Music Director

Charles Ogilvie

Set and Costume Designer

Will Alder

Lighting Designer

Jonny Danciger

Associate Director / Fight Choreographer

Helene Mathiesen

Producer

Vendy Pospisilova

Stage Manager

Niki Moosavi

Cello

Adam Storey

Double bass

Iain McDonald

Sousaphone

Jasmin Allpress

Piano / Harmonium

Photo credit: Craig Fuller