If you can embrace it, lockdown’s shift from the real to the virtual is a liberation that makes anything possible.
Grange Park Opera Interim Season. Simon Keenlyside: An Autumn Walk in Wales (available online). Review by Barbara Lewis: Context is all, says Simon Keenlyside, as for the second time this year he delivers a musical tour of his own personal context – the woods around his Welsh home.
Before lockdown, Bewley’s Café Theatre in the bustling heart of Dublin was the place to grab a short lunch-time play, a bowl of soup – and maybe even chat up a stranger. For now, those days are gone, but Bewley’s has joined forces with online events company The Lock Inn to open the tiny venue to a potentially limitless audience.
The Dirty 30 II: Electric pay-per-view. Review by Barbara Lewis. Instead of loud applause and cheers, “you were spectacularly fabulous,” pops up on the side of the screen from an online viewer, as the imaginary curtain goes down on the Degenerate Fox theatre’s online adaptation to the times we’re in.
Ghost Light, National Theatre of Scotland film. A theatre never goes completely dark, even in lockdown: a single light bulb, known as a ghost light, carries on glowing like a sanctuary lamp.
An unexpected joy of lockdown is seeing world-class performers in their natural habitats. Habitat is the apposite word for Simon Keenlyside, who read zoology at Cambridge before focusing on his operatic career and who describes a love of nature as “the marrow” of his existence. He looks to music for its validation.
For Wasfi Kani, the unstoppable founder of Grange Park Opera, even a pandemic is only a temporary setback. As soon as she had accepted this summer’s country house opera season at The Theatre in the Woods was lost, she set about mobilising the “pandemicists” and amassing funding for a Found season.