Rachael Lloyd is a British mezzo-soprano who sings nationally and internationally in opera and concert. She has sung the role of Cornelia in Giulio Cesare at Glyndebourne and the title role in Carmen at the Royal Albert Hall (Raymond Gubbay Ltd.). Recent engagements include the role of Pitti-Sing in the English National Opera revival of Jonathan Miller’s The Mikado and Third Lady in Simon McBurney’s production of Mozart’s The Magic Flute, also with the ENO. In 2016 Rachael sang the role of Alisa in Katie Mitchell’s production of Lucia di Lammermoor at the Royal Opera House, a role she is singing again in an autumn revival this year at the ROH. Other forthcoming roles include that of Miss Jessel in the ENO production of Benjamin Britten’s The Turn of the Screw in Regent’s Park Open Air Theatre in summer 2018. This year, Rachael sang the dual role of Woman/Mother in the UK premiere of Jonathan Dove’s opera The Day After in a staging by English National Opera at Lilian Baylis House, conducted by James Henshaw, directed by Jamie Manton and designed by Camilla Clarke. The opera, with a libretto by April de Angelis, is based on the apocalyptic vision of Ovid in Book 2 of Metamorphoses, where Phaeton, son of Phoebus, makes an attempt to steer the chariot of the sun across the skies, thereby endangering the earth, and ultimately losing his life.
Chrissy Combes spoke to Rachael Lloyd about The Day After at Lilian Baylis House, West Hampstead.
The production photographs from ‘The Day After’ are by Fiona Rich. In addition to being a photographer Fiona is a singer who has been a member of the English National Opera chorus for 31 years (singing under the name Fiona Canfield). All photographs are copyright. Photographic captions are taken from the libretto of ‘The Day After’ by the playwright April de Angelis.
Mark Bruce has choreographed, directed and danced internationally for over 25 years, working with Rosas, Bern Ballet and Ballet Black, among others. He was one of the judges of the contemporary dance section of BBC Young Dancer 2017. Mark formed the Mark Bruce Company in 1991; since then, the company has regularly staged exciting, innovative dance-theatre productions. Mark’s theatre work includes choreography for The Bacchae (directed by Braham Murray) and Antigone (directed by Greg Hersov) at Manchester Royal Exchange Theatre, and several of his productions, including Helen (1996), Love and War (2010) and Medea for Bern Ballet (2011) have drawn on themes from myth and Greek tragedy. The Mark Bruce Company’s production of Dracula in 2013 won the Sky Arts South Bank Award, while in 2014 at the National Dance Awards, Jonathan Goddard received the Dancing Times Award for Best Male Dancer for his role as Dracula, and the company won the Best Independent Company Award. Last year, the Mark Bruce Company staged a production of The Odyssey, which toured London and the South West. Chrissy Combes spoke to Mark Bruce about the production at Wilton’s Music Hall in March 2016. Since the interview Hannah Kidd (Penelope in the production) was nominated for the Outstanding Female Performance Award by the Critics’ Circle at the 17th Dance Awards, and Eleanor Duval (Circe) was included in Top Ten Best Dance of 2016 by Luke Jennings, Dance critic of The Observer.
This special issue of Practitioners' Voices in Classical Reception Studies, edited by Emma Bridges, features nine interviews and essays on the theme of 'Remaking ancient Greek and Roman myths in the twenty-first century'.
This special issue of Practitioners’ Voices in Classical Reception Studies, edited by Marguerite Johnson, features conversations with three Australasian practitioners: Phillip Mann, Anna Jackson and Ben Ferris.