Guest Blog: Becca Marriott On Studio Opera and LA BOHEME

What does performing opera in a studio space do to the art form - to the artist?

My relationship with this relatively new form of fringe opera or 'studio opera' - or 'in your face opera' or 'opera up close' - is twofold. I am a translator-librettist and adaptor, working with Adam Spreadbury-Maher, artistic director of the King's Head Theatre, to create new versions of popular operas; but also a singer and actress performing opera's iconic roles in intimate venues.

For me, creating La bohème has been an incredible journey. How does one adapt an opera to make it more accessible? It seems obvious - transfer the events to the modern day, or to a period of history with which everyone is familiar.

When we decided to translate the events of Puccini's opera, set in Paris in the early part of the 19th century, to Dalston 2017, there were two big questions that needed answering. One: What is the same? What elements of the opera are timeless? Two: What is different? How do we overcome these differences?

The answer to the first question is simple: unhealthy love. We've all been in those relationships, with friends or lovers that we seem unable to pull ourselves out of, no matter how obvious it is that our love is a dangerous addiction and doing us no good.

La bohème tells the story of two such co-dependent relationships. Marcello (now called Mark) can't stop loving Musetta, whose flirtatious streak he cannot stand, and whose sex appeal frightens him. Rodolfo (now called Ralph) falls for Mimi, and though he can see she is sick, he clings to her, boosting his own self-worth through the idea that he might somehow 'save' her. All this is very recognisable and relatable - so far so good.

So what's different? Tuberculosis. The social disease that's killing Mimi in Puccini's original has been largely eradicated in modern Europe. This incurable disease affected the poor and the hopeless - those who lived unseen in society's shadows. What is the modern equivalent?

The answer was painfully clear: addiction. In making Mimi a victim of society's desire to forget those whose lives are destroyed by illegal drugs, we were actually very close to echoing the stigma attached to tuberculosis among the poor over a century ago.

Then the practicalities have to be faced. Operas are long, with huge casts, orchestras and choruses. All of these elements are fantastic and add hugely to the opera house experience.

In a studio space, however, they are costly and unfeasible, and would detract from the project of personal storytelling. In reducing the cast of La bohème to the central quartet, we were able to create a show that allowed the audience to really experience the lives of each character in every dimension.

And not just the audience.

I sing the roles of Mimi. To meticulously embody a heroin addict, from her highest highs to the edge of death, while producing glorious and safe vocals is a real balancing act.

In a 90-seat venue, there is nowhere to hide. In larger productions so much of the focus is on the spectacle of orchestra, choir and the lavish set and costumes. Working in the studio form necessitates far more precision in movement and intention, while at the same time the absence of a conductor means the singers must have a supreme knowledge of the score and a feel for the musical ensemble to keep the action going.

Unlike in spoken theatre, you can't just take a dramatic pause if things get too much, or improvise a line or two. Shows like La bohème are a chance to see performers working at the edge of their abilities - so close to you, you can touch them.

La bohème at Trafalgar Studios 6 December-6 January, 2018

Photo credit: Paul Nicholas Dyke

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