Music Theatre Wales was founded in 1988 and are based in Cardiff. Each year they go from strength to strength, and are so rightly deserving in their renown for not only producing but also commissioning new operas by some of our greatest current composers, and making them accessible to all. As they so rightly claim, opera is an ever-changing and open medium, a living and breathing organism which should be challenging and entertaining at the same time.
The Devil Inside is their latest commission (co-produced by Scottish Opera), and is a Chamber Opera in 7 scenes written by Stuart MacRae. (Music) and Louise Welsh (libretto). The story is based on Robert Louis Stevenson's short story, 'The Story Of The Bottle Imp', and follows the original very closely until the denouement, which, instead of Stevenson's cosy happy end, Welsh and MacRae chose to finish with a huge Freudian question mark. A bold but wise decision.
It tells of two friends who chance upon a house in the mountains and are welcomed by the occupant, an old man living in opulence. He tells them how he gained his wealth; he has a bottle in which is an imp who will grant your every wish whilst in your possession. However, there are two catches to this. First, if you die whilst still the owner of the bottle you are damned in Hell for eternity, a second, in order to sell the bottle on, it must be for a cheaper price that what you paid for it. The opera poses moral dilemma after dilemma, and you find yourself asking all the time what you would do if that situation was presented to you. I will not spoil the story for those intending to see this opera whilst still on its UK tour, but suffice to say, the twists and turns are enough to keep Faust happy for a century.
I was really rather excited by this. A new opera. There are no recordings of this piece and so, since it is all an unknown quantity, we can only wonder. The World Premier of this opera was only on the 23 January in Glasgow, and the RNCM played host last night to only its sixth performance. Well, I can put you out of your misery as I tell you that of course the company did not disappoint! Music Theatre Wales delivered an absolutely wonderful production. What a pity then that I hated the music! - Sorry Mr. MacRae but it really didn't float my boat. However, judging from the applause and comments afterwards, there were many in the audience who did like it.
That being said though, the production was solid and kept my interest and attention all the way through, even if I was yearning for there to be even just five seconds worth of discernable melody! 
I am drawn though to a comment made by an audience member posted on the company's website which reads "broaden your horizons - come to something different. It works a strange magic relevant to modern lives!" It was not written about this opera, but that doesn't matter - the sentiment is the same and I really could not agree more!
I mentioned earlier that this was a Chamber Opera. This means in simplistic terms, a small-scale opera. An opera that can be performed easily in smaller spaces without too many technical requirements. This opera was quintessentially just that. With a cast of only 4, a simple but extremely effective set, and a 14-piece orchestra, it is ideal for touring.
All four cast members were utterly brilliant. Nicholas Sharratt (Richard), Ben McAteer (James), Rachel Kelly (Catherine), and Steven Page (Old Man and Vagrant). All showcasing superb singing voices and, quite unusual for opera performers, remarkably good acting too.
The set was an utter joy. [Design, Samal Blak and Lighting, Ace McCarron]. A very simple concept, but the use of projection, silhouette and shadow throughout were superb. The final wall of white 'smoke' descending and revealing more and more black as the scene progressed mirroring exactly the moods and dynamics of performers and music was not only inspired but excellently done. I also loved the 'invisible' black Kabuki scene-changers.
Put all of this together with some very solid and sensible directing by Matthew Richardson, and you have a very compelling and grippingly intense if rather dark masterpiece!
There was only one fault, and it really should never have happened, but there was quite a large gap between the touring set and the RNCM Theatre's wings which was not curtained or flatted. I was therefore able to see furniture, ninja and performer standing waiting to make entrances etc and this was most distracting.
Reviewer: Mark Dee
Reviewed: 16th February 2016
