The Queen’s Closet at the Cloverton Arms
The sports-mad patrons of the Cloverton Arms get involved with the game on the television.
When the brass and percussion sections sauntered on stage with their instruments and approached the bar of the Cloverton Arms, the opening-night audience relaxed. These are, after all, the traditional drinking sections of any good orchestra, and there was already a fine string ensemble playing Baroque music in the corner of the establishment. The five boorishly sporty chaps in check shirts who followed lowered the tone somewhat, but appeared harmless enough - and some of them seemed to be able to sing. And the whole atmosphere in the provincial pub was friendly and convivial.
CLOVERTON: In Love & In Wine was presented in Wellington by The Queen’s Closet, who describe themselves as “a 17th century musical company for the 21st century”, aiming “to make the historic modern”. Their production is a “semi-opera”, a form of entertainment dating from the English Restoration period (c. 1660-1714) that combines a spoken play with singing and dancing.
English composer Henry Purcell (1659-1695)
“…cleverly apt choices of his music underline the story.”
Henry Purcell was of course one of the greatest English composers of the period and wrote five semi-operas, including King Arthur and The Fairy Queen. CLOVERTON uses his music to great effect and, acknowledging the Restoration’s interest in musical and theatrical experimentation, The Queens’ Closet have modernized their semi-opera by working with satirist and playwright Dave Armstrong to create a brand-new script for 21st century tales.
The result is highly entertaining on several levels. The large cast, ably directed by the inventive Jacqueline Coats, has a rollicking good time with script and music. Themes range from sport to relationships to real estate and a general boozy miasma hangs over it all. The check-shirt blokes are The Master Blasters; they may be a sports team and they seem to be on very good terms with a group of female patrons, who turn out to be a touch rugby team, the Four Leaf Clovertons. The jokes are a bit off-colour and the Blasters are probably the sort of men who say things like “phwoar!” All the action is set in the provincial pub and theatrical highlights include a hilarious slow-motion boy-girl rugby scrum choreographed to Purcell’s music and a re-enactment of the Moon Landing with pint glasses.
Instead of a printed programme we have copies of The Cloverton Gazette with a helpful article explaining that The Queen’s Closet ensemble is committed to a very high level of historical accuracy in performance. The musicians play historic ventless natural trumpets and other historic brass, scholarly reproductions of 17th century hautboys and reeds and replicas of period string instruments and bows. The challenges associated with playing these instruments are not mentioned and the playing is terrific, technically accomplished and sensitive in accompaniment. Cellist Jane Young’s lovely continuo is just one of many highlights and the ensemble’s work is altogether musically delightful under the knowledgeable direction of Gordon Lehany.
The Queen’s Closet: “technically accomplished, sensitive in accompaniment and musically delightful.”
The singers of the cast are also mostly expert in period performance, with some enchanting singing alongside light-hearted theatrics. Soprano Rowena Simpson’s beautiful duet with barman Mark Bobb, “Come, Let us Leave the Town” from Purcell’s The Fairy Queen is typical of the witty choices of music to tell the stories, suggesting “our days in harmless sport shall pass”. Simpson’s lament “Oh, let me weep”, accompanied by poignant hautboy by Sharon Lehany, is another standout, and her fellow Four Leafers Anna Sedcole and Andrea Cochrane also sing with beauty and expressive emotion throughout.
Five actors are integrated into the cast: Danny Meldrum as barmaid Jess, feeling the pressure from her jealous boyfriend; Barnaby Olson as ambivalent Master Blaster Dan; Hannah Kelly as the big character Tracey, a rugby player; Tess Sullivan as Rachel, a single woman seeking acceptance in a small town and Kasi Valu as Semi, aspiring NRL player and new father.
Armstrong’s strong script works brilliantly as the actors tell their stories underlined by cleverly apt choices of Purcell’s music.
Semi (Kasi Valu) honours his friend by performing a traditional Tongan funeral dance, accompanied by Purcell’s music.
It’s a tribute to Coats’ direction that it was some time before I worked out who was actor and who singer – all performances are convincing, joyous and whole-hearted. Tenor John Beaglehole plays his comedic boorish role with almost unseemly glee in his own bad behaviour. Olson’s abandonment of beer for love is touchingly believable and Kelly gives an extrovert and riveting performance as Tracey, a sportswoman struggling with both fitness and her sexuality. Valu offers one of the most moving and tragic moments as he grieves for his friend; never has “Dido’s Lament” seemed more emotionally appropriate.
Like all good pubs (and many soap operas), the Cloverton Arms is presided over by a barwoman in charge of everything. Soprano Barbara Paterson plays this major role to the hilt – she’s philosopher, counsellor, bossy mistress of ceremonies, friend and confidante. She sings with her usual clear bright soprano and subtle understanding of the music’s character. She also keeps everybody on the move in a full narrative that might otherwise seem overlong.
The bar staff of the Cloverton Arms, (from left) Dom (Mark Bobb), Jess (Danny Meldrum) and Kelly (Barbara Paterson).
Photo supplied.
In Purcell’s day the semi-opera was an entertainment, and CLOVERTON entertains splendidly. Funny, moving and engaging, cast and audience are drawn together in shared enjoyment of an evening of “harmless sport”, contemporary stories and wonderful music. One moment joyous and droll, the next heartrending, this is a cleverly integrated production that links 17th and 21st centuries, music and theatre, entertainment and art. Congratulations to The Queen’s Closet – we were all well pleased!
CLOVERTON In Love and Wine A modern semi-opera by The Queen’s Closet, libretto by Dave Armstrong, music by Henry Purcell, Gordon Lehany (Music director), Jacqueline Coats (Stage director) Sharon Lehany (Producer). November 25-27, Wellington. More information here.