…And the plastic chair shall be king
I’m not going to lie, I enjoy a good cliche when I see one (remember the Reactor of Doom staircase? I want one for my lounge). This blog would be more picture happy had we but media library space enough and time (or at least less laziness). Today I’m neither lazy nor pressed for time, so –
I’ve noticed (regie) opera directors have a weak spot for plastic chairs. Here are some examples off the top of my head, although I bet there’s much more (and even more compelling and statement-making) out there:
Rinaldo (Glyndebourne) – I think this one is the Granddaddy of them all, as it’s not simply chairs, but classrooms elevated to the status of compelling spaces. I’m iffy on the production but man, I wish Goffredo, Armida and Argante could’ve been summoned in my history class! The Physics teacher needed some hissing angui d’Aletto coming out of her drawer(s).
Idomeneo (Theater-an-der-Wien) – the kingdom has gone bankrupt whilst Idomeneo was away so we’ve learned to make the most out of our chairs. Fear our metallic legs, Neptune!
Orphee et Eurydice (Munich) – Orphee and Eurydice surprise looters on returning home unannounced. Eurydice was so upset with Orphee’s negligence, she decided to return to the Elysian Fields. Channeling Offenbach.
So what did we learn? The plastic chair makes a compelling statement. Of some sort1.
- Earlier this week I went to see the Malevich exhibit at the Tate Modern (who doesn’t like the Black Square, eh?). One of the canvases was painted on both sides. Why do you think he did that? asked my ex and fellow art lover. Knowing Malevich’s cerebral bent, I pondered the endless possibilities. Hold on, my ex said, it says here he was skint. ↩