London Theatre

London Theatre

30 July, 2008
by: Joe Harrod

London Opera: Down with the kids?

August is quiet in Theatreland but London does see a number of fringe festivals and events designed to entertain those of us not fleeing the country on holiday or trekking north for the cultural blow-out in Edinburgh. One of these commendable cultural offshoots is Grimeborn, now in it's second year – a multimedia, cutting edge opera festival at Arcola designed to appeal to their young, diverse audience.

There's no doubt about the power and beauty of a gala opera occasion, but can this rather highfalutin art form really cross over to a younger generation? How are operatic composers and producers shaping their art for the dilatory attention spans of the MTV generation? What are they doing to get the kids in? And are they making headway?

We chatted with Michael John Harris, Grimeborn's producer, about his event.

SF: Who are the Grimeborn audience?

MJH: Arcola has a very diverse audience from all over London. If you were to come in this evening you would find a huge black audience upstairs watching Femi Oguns' Torn and downstairs we have performance poetry from the Edinburgh Festival. It speaks volumes for our audience that we could programme our first ever Opera season last year and sell out.

SF: Do you see yourself as an accessible project or an innovative showcase for opera aficionados?

MJH: Grimeborn was conceived to create a platform for new and emerging artists and to bring affordable opera to Hackney. The programme is so varied - video installation, mixed media performance, musicals, classic works, puppetry and pop - that it attracts everyone from Opera fans to indie-kids. People know they will be in for a surprise. Arcola goes to great lengths to remain accessible; we run a huge youth and community programme, subsidise tickets for local people and offer 'pay what you can Tuesdays' where you can see a show for 1p if you like.

SF: What benefits does working with a fresh audience bring to the Grimeborn artists?

MJH: The audience is very open-minded because it is so varied in terms of age, ethnicity and background. Artists can be truly brave; young artists can make their mark while old masters can present labours of love.

SF: What were the successes of last season?

MJH: The fact that all the shows drew such crowds was amazing in itself. Some of the highlights were Dichterliebe, Nosferatu, The Devil's Drum and Vice (A Jazz Opera).

SF: Which shows are you most excited about?

MJH: This year's programme is even better than last with everyone from Errollyn Wallen to Michael Nyman. I am looking forward to Opera of Surveillance by The Irrepressibles, who I've seen at the Latitude festival over the last two years.

Sounds great, doesn't it? What a thrill to experience opera in a tee shirt for less than a tenner. Click here for the Grimeborn 08 Programme.

But what, I hear you ask, about 'proper' opera? The other end of the London spectrum? Three hour, white tie and tails, divas-flown-in-from-Milan spectacles at the Royal Opera House, which have struggled for audiences in recent years despite being acknowledged among the world's finest. How are they getting on with the 'yoof' market?

We fired one of those new-fangled 'emails' over to Covent Garden – and were blown away by the response. The Royal Opera are bending over backwards to get young audiences in and this means you can see a show in the coming months for a song.

In the next couple of months alone there are two initiatives specifically designed to explode opera audiences, not just into the youth demographic, but out to the rest of the country. The first of these is ROH Live, a cinematic project that will see live operas from London, Madrid and San Francisco put on in local cinemas up and down the country. Opera and popcorn: together at last. The first show is Don Giovanni on September 8th. Check out the fully cinematic Royal Opera House schedule.

More exciting for young people living in London is a free three day festival catchily entitled Wayne McGregor's Deloitte Ignite 08, designed to shift perceptions of opera and ballet and bring the art forms new relevance and power. The event offers visitors unprecedented access to Covent Garden, with a series of performances staged in the auditoriums, but also backstage and in various weird locations. Wander through the house and marvel as world class performers interact in the same space as the crowds. Get updated on the full Deloitte Ignite programme here.

Or you might prefer a traditional opera. A memorable night, riveted in your seat by the vocal power on stage and surrounded by tux-wearing oldies nodding their heads in sleepy appreciation. If so, you want to register on their Travelex Student Standby scheme. The scheme, which shifts thousands of unsold tickets for ten quid (whatever their original face value) has been a massive hit with London students and youngsters, with over 28,000 registered already. Enhance your chances of getting a good deal by becoming a 'fan' of the Royal Opera House on Facebook.

Facebook, festivals, and free stuff? That's the way to do it. Forget your preconceptions about opera. The producers, performers and even the venues enjoy working with young audiences and thanks to their efforts, this summer and autumn you can enjoy the pomp and ceremony of operatic performance in London for less than a ticket to G-A-Y.

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Joe Harrod