Xerxes director Roger Hodgman
Roger Hodgman has directed theatre, opera, musical theatre and television drama in Australia and internationally for over 30 years and was Artistic Director of the Melbourne Theatre Company for twelve years. Prior to that he was Dean of Drama at the VCA and Artistic Director of the Vancouver Playhouse.
Renee Liang chats to Roger about directing Xerxes, the opera being performed as one of the showpieces of the Auckland Festival, before moving to Wellington for a further season.
Why was Xerxes chosen?
Victorian Opera produce a baroque opera every year, Aidan Lang wanted to do New Zealand Opera’s first Handel opera and thought Xerxes was the best choice. The two companies got together and....
I understand Xerxes is a co-production between Victorian Opera (Australia) and NBR NZ Opera. How have you coordinated the preparations?
It was agreed from the beginning that, as it was opening in Melbourne, there would be an Australian director and I was brought on board along with lighting designer, Matt Scott. It was decided to build the set and costumes in New Zealand and hence NZ designers, John Verryt and Trelise Cooper were chosen. It’s been a very happy collaboration, with the design being acclaimed at the Melbourne premiere in 2009. Separate casts were planned but luckily the wonderful Tobias Cole and Tiffany Speight were cast in both.
How did you find period ensemble Lautten Compagney (coming from Germany to do the music) and what's your process of working with Wolfgang Katschner (musical director)?
I believe the Lautten Compagney were in discussions with the Auckland Festival about doing some concerts, Aidan Lang became involved and a happy marriage ensued. As it happens, the Lautten Compagney played for a production of Xerxes a few years ago, so it was a perfect match. Working with Wolfgang has been inspirational. He is a real theatre animal as well as being a marvellous musician. We exchanged many emails beforehand about the music and cuts and that was rewarding. But working with him during the first two weeks of rehearsal was even better!
Why is it so important to do a Handel opera with the original musical instruments of the time, and are there then any challenges to mounting the opera in the large space of the Civic?
It just sounds better on original instruments! Their crispness and clarity makes Handel’s beautiful and theatrically clever music shimmer. It is true that this is an intimate opera and the Civic is large, but it seems to work. John’s beautiful serene set and Trelise’s colourful bold, costumes sit well in the space and the acoustic has proved to be surprisingly alive.
What aspects of the Opera have you "updated" - and why?
It hasn’t been “updated”. On the other hand I wasn’t interested in a strictly “period” production that might distance the audience from the story. So the set has an eighteenth century feel and the brief to Trelise was to create an imaginary world through costumes that brought the music and story to life. I think she has succeeded brilliantly. So no mobile phone, but bold designs and, I hope, recognisable characters and situations.
Auckland
Civic Theatre, THE EDGE
Wednesday 02 March, 7:30pm
Thursday 03 March, 7:30pm* **
Saturday 05 March, 7:30pm
Sunday 06 March, 5:00pm
Wellington
St James Theatre
Tuesday 15 March, 7:30pm
Wednesday 16 March, 6:00pm* **
Friday 18 March, 7:30pm
Saturday 19 March, 7:30pm
