Review: The Priestess of Morphine at The Blue Room Theatre
The Priestess of Morphine @ The Blue Room Theatre
Tuesday, January 31, 2023
8/10
On Tuesday, the Tenth Muse Initiative bewitched and moved audiences with the preview night of its powerful new show The Priestess of Morphine.
This contemporary English-speaking opera (an appreciable 55 minutes for the unseasoned punter) paints a hauntingly beautiful and devastating portrait of Baroness Gertrud Günter von Puttkamer, a Jewish German lesbian erotic poet caught in the violence of the Nazi’s reign of terror.
Representing Puttkamer in her reflective older form, and in the personification of her nom-de-plume Marie-Madeleine, this exquisite tragedy of forbidden identity and desire plays as a duet, with Puttkamer’s pensive and resigned persona appearing almost motherlike in the face of Madeleine’s embodiment of distraught youth, addiction and unapologetic sexuality.
Performers Ava Charleson and Jessica Taylor (also the show’s artistic advisor) were captivating in their respective embodiments of Madeleine and Puttkamer. Charleson’s personification of desire, anger, and grief was palpable and resonant in the rawness of her performance. Alternatively Taylor’s complex, yet restrained embodiment of an older, philosophical Puttkamer was masterful in its conveyance of quiet remorse, and above all else, mourning for her younger, aching self.
The vocal performances of both Charleson and Taylor were excellent. Without microphones, in one of The Blue Room’s small theatre spaces, the performance felt incredibly intimate, a perfect fit for this personal and emotional show.
Charleson and Taylor were also joined by percussionist Thea Rossen, cellist Miranda Murray-Yong and violinist Julia Watson, whose haunting melodies and timings appeared to be executed perfectly. The trio were often as captivating to watch as the performers themselves, particularly Rossen as she built atmospheres of tension and sensuality with fascinating instrument combinations and a certain flair.
Rachel Doulton made a triumphant return to the Perth theatre world as the show’s director, after a prolonged hiatus from the creative scene. Her influence in the show was strongly felt in the intense intimacy of the performers’ characters, and the palpable moments of touch and connection, a mark of a responsive and masterful directorial style.
Images of German-expressionist-inspired video and real images and artefacts of Puttkamer’s life accompanied the performance, with the libretto included for the less seasoned opera goers. Unfortunately, the libretto often did not line up with the performance, which made it incredibly difficult to decipher the passionate poetics of the performers’ words. This was often off-set by Charleson and Taylor’s clear embodiments of comprehensive and clear emotional journeys, however it was a small shame, nonetheless.
Overall, The Priestess of Morphine was an emotional and affective delight, and an exceptional showcase of Perth’s operatic, musical and creative talent. Whether audiences are experienced connoisseurs, or opera newcomers, this show will stay with them far longer than its final bow.
BEC WELDON
Photo by Michelle Chong