Opera in Sanskrit looks at not just Gandhi's vision, but those who aided him

Britishborn tenor Toby Spences performance as Gandhi is heartfelt and leaves a commendable impression PicsDonald CooperSatyagraha was what made Mohandas Karamchand Gandhi world famous It is also his beloved legacy to the world While in simple global parlance Gandhian satyagraha is defined by nonviolent protest in India satyagraha is so historically enshrined that it automatically conjures images of British extremities and Indian resolve to overthrow its colonial rulers Yet as a philosophy it somehow lost its original meaning between its rather tumultuous journey from Gandhis lucid thoughts to historys myriad text booksSo Philip Glass and English National Operas highly acclaimed opera Satyagraha showing at London Coliseum is a refreshing diversion Now in its third run in a decade and as popular as ever at the prestigious London Coliseum in the heart of the citys west end the opera uses the colonial trappings of Gandhis younger days in South Africa as a backdrop to delves deeper into his idea of Satyagraha holding onto truth or truth force as a means of selfactualisationThis threehour long magnum opus is composed in Glass signature style of minimalism and can either feel soothingly rhythmic or mindnumbingly repetitive However Phelim McDermotts artistic direction transforms the set into a visual kaleidoscope of the many colours of simplicity yet creates a mesmerising grandeur that enthrals the audience with its innovation Using corrugated card newspapers from 2007 and endless roles of cello tape the highly creative imagery uses giant puppetry of heroes and demons to make the stage come aliveHold pleasure and pain profit and loss victory and defeat to be the same then brace yourself for the fight So you will bring no evil on yourself the rich baritone of Toby Spence booms in Sanskrit as a papiermacirccheacute Arjuna encouraged by Krishna takes on his enemy in the grand battle on the Kuru Field of Justice KurushetraBritish born tenor Spence with heartfelt singing and commendable impression of Gandhis personality is unforgettable even in his debut Speaking exclusively to midday Spence admits I dont look anything like Gandhi Instead of trying to embody him physically I have focused my efforts on capturing his spirithellip to find a calm and stillness within my performance With round glasses wearing a trouserdhoti and crisp white kurta Spence is almost believable as a healthier white avatar of the Indian icon Oh and I have shaved my head he adds That definitely helpsGlass opera is written entirely in Sanskrit a language he fell in love with during his many travels to India Soprano Charlotte Beament finds Sanskrit a lovely language to sing in because of the open vowel sounds but finds memorisation a difficult task I am memorising consonant and vowel sounds Its like trying to learn a 600digit number Then singing it in different rhythms and pitches in varying keys and time signatures using a range of emotions moving to the right place on stage staying with my colleagues and the orchestra Its a juggling act she admitsBeament sings the tricky role of Miss Schlesen It sits in a tiring part of the soprano voice up very high and the music is relentless leaving little time to breathe and recalibrate she confesses Beament however carries her performance with surprising easeThe opera written in three acts replicates historically the different events of Gandhis struggles in South Africa but aesthetically focus primarily on the influences of the three icons of Satyagraha Leo Tolstoy who Gandhi drew inspiration from to build his philosophy Act I Rabindranath Tagore who served as his counsel in the movements historical present Act II and Martin Luther King Junior who drew inspiration from Gandhis ideas of satyagraha Act IIIThe script moves rather sporadically from Mahabharata to the Tolstoy Farm 1910 from Indian Opinion 1906 to the burning of the registration cards 1908 from New Castle March 1913 to Gandhis legacy This nonlinear nature of the opera and its multilayered approach to disparate events in history embedded with the deep philosophies of these great thinkers is perhaps a tad too tedious for the historically challenged And if you were expecting a big finish sadly there is noneSatyagraha is not a biographical narrative piece McDermott explains It is unique as it is an opera about a concept For McDermott this concept is a spiritual practice a wonderful marriage of content and form where performance cannot overshadow the ideas of satyagrahaThese ideas are brought to life by The Improbables skills ensemble as they conjure mythic and transformative images with simple materials use aerial and acrobatic techniques coupled with puppetry to create a mesmerising tableau There are no subtitles but specific historical information and excerpts from the Sanskrit libretto in translation are projected in creative ways as tiny morsels of food for thoughtBut while the opera is a snapshot into history it is quite contemporary in its vision Both Beament and Spence find inspiration in the characters they play Beament is glad to represent a strong woman involved in something world changing in the year Britain celebrates the centenary of the right to vote for some women Spence who describes Gandhi as clear vulnerable and resolute believes that Gandhis message of peaceful and persistent resistance has great value for us all in 2018Satyagraha may not be the soul purifying ritual that Gandhi had envisioned but Glass opera opens a window to introspection As McDermott says It is perhaps only through opera which is a unique form synthesising both power and vulnerability that Glass manages to communicate the deeper soul levels of what Satyagraha actually meansCatch up on all the latest Crime National International and Hatke news here Also download the new midday Android and iOS apps to get latest updates