MICHELLE VACHON
Special to The Globe and Mail
December 4, 2008
PHNOM PENH -- Director Robert McQueen's first taste of meshing opera with diverse cultures came by way of the Vancouver Opera, which asked McQueen to set Mozart's The Magic Flute among British Columbia's native people. His 2007 production used a forest setting with props and costumes inspired by traditional designs from 10 West Coast native groups, and he modified the text to include words from a Coast Salish language. But "the story remained the same," McQueen said, "and I did not touch one note of the music."
Then, used to uncharted waters, McQueen decided to take on another challenge, this time with an entirely new work: staging Cambodia's first rock opera, set in that country, and blending rock music with the eerie sounds of its traditional instruments.
Where Elephants Weep premiered last Friday in Cambodia's capital of Phnom Penh. Fred Frumberg of Cambodia's non-governmental organization Amrita Performing Arts, which is producing the show, says it is the most ambitious production staged in the country since the 1960s.
So rare was the occasion that on Friday Cambodia's major players in arts and culture as well as the city's usual special-event crowd, complete with government officials and the diplomatic corps, packed the Chenla Theatre at the corner of Mao Tse Tung and Monireth boulevards.
McQueen, just days before the opening, was still nervous about the finished product. "If you're directing a Neil Simon play, you can probably figure out on day one what opening night is going to look like," he said while overseeing one of the last rehearsals in Phnom Penh. "What's kind of extraordinary for me is that I have no idea how it's going to turn out."
It was the concept, rather than the scale or newness of the work that had prompted McQueen to get involved in the project. He said the two years he spent working on The Magic Flute in Vancouver, his hometown, made him incapable of going back to the usual musical or opera fare.
Until then, McQueen's career had followed a more traditional path, which had included directing Puccini's La Bohème for the Canadian Opera Company in Toronto and the musical The Spitfire Grill at the Grand Theatre in London, Ont., and playing the role of associate director for Mamma Mia! at New York's Winter Garden Theatre.
While he worked on The Magic Flute, he said, "without consciously knowing it at the time, it began to alter the kind of theatre that I wanted to be doing."
McQueen said he was now eager to explore how cultures could come together in a project and not so much blend as "inform" each other.
In Where Elephants Weep, a Cambodian man visits his homeland in the mid-1990s after immigrating to the United States as a child at the end of the Khmer Rouge regime in 1979. As he finds himself a stranger in a culture he no longer knows, he falls in love with a woman pledged to her brother's business partner in an arranged marriage.
The story reflects the mixture of Western and traditional elements of today's Cambodia: women in long silk skirts next to others in short dresses or pants; men praying at Buddhist pagodas in the morning and splitting their time between karaoke bars and sex workers at night.
At Friday's performance, the artists received a standing ovation, which is quite unusual in Phnom Penh, and at the reception afterward, Cambodians as well as foreigners were enthusiastic about the show, the few dissenting voices those who dislike musical theatre in general.
Where Elephants Weep was created by Cambodian music composer Him Sophy, Franco-American librettist Catherine Filloux and U.S. executive producer John Burt. McQueen met the team in Phnom Penh in 2003 while he was travelling in Asia. But with Burt and Filloux based in New York and Him Sophy in Phnom Penh, it would be four years before the three were ready to call on McQueen finally to stage the show.
The cast consists of one Cambodian singer and New York singers with Asian roots, as no Cambodians with musical-theatre-type voices could be found in the country. Actors, dancers and the 11 rock and traditional musicians are Cambodian.
Many of the scenes, and especially those at pagodas, involved "cultural protocol considerations," McQueen said: "I couldn't just stage the scene the way that I wanted to ... because to a [Cambodian] local audience, it might be complete confusion if they see monks doing something that monks would never do."
Customs in Cambodia are mainly taught through oral tradition, so McQueen relied on his Cambodian assistants to let him know whenever a scene did not ring true. And yet, he pointed out, "I still had to draw on what I know as a theatre maker - I can't abandon that because that's me, the storyteller - and I had to include the information that was coming at me and figure out a way of weaving them together so that they meet."
Most of the opera is in English with occasional Khmer songs and dialogue; subtitles were provided in English and Khmer.
Where Elephants Weep is being staged in Phnom Penh through Sunday, with plans to tour in Asia and North America, Burt said. As for McQueen, he is heading for the Galaxy Theatre in Tokyo where he will stage "Carousel, one of the most American musicals ever written, and I'm doing it in Japanese."
Special to The Globe and Mail
December 4, 2008
PHNOM PENH -- Director Robert McQueen's first taste of meshing opera with diverse cultures came by way of the Vancouver Opera, which asked McQueen to set Mozart's The Magic Flute among British Columbia's native people. His 2007 production used a forest setting with props and costumes inspired by traditional designs from 10 West Coast native groups, and he modified the text to include words from a Coast Salish language. But "the story remained the same," McQueen said, "and I did not touch one note of the music."
Then, used to uncharted waters, McQueen decided to take on another challenge, this time with an entirely new work: staging Cambodia's first rock opera, set in that country, and blending rock music with the eerie sounds of its traditional instruments.
Where Elephants Weep premiered last Friday in Cambodia's capital of Phnom Penh. Fred Frumberg of Cambodia's non-governmental organization Amrita Performing Arts, which is producing the show, says it is the most ambitious production staged in the country since the 1960s.
So rare was the occasion that on Friday Cambodia's major players in arts and culture as well as the city's usual special-event crowd, complete with government officials and the diplomatic corps, packed the Chenla Theatre at the corner of Mao Tse Tung and Monireth boulevards.
McQueen, just days before the opening, was still nervous about the finished product. "If you're directing a Neil Simon play, you can probably figure out on day one what opening night is going to look like," he said while overseeing one of the last rehearsals in Phnom Penh. "What's kind of extraordinary for me is that I have no idea how it's going to turn out."
It was the concept, rather than the scale or newness of the work that had prompted McQueen to get involved in the project. He said the two years he spent working on The Magic Flute in Vancouver, his hometown, made him incapable of going back to the usual musical or opera fare.
Until then, McQueen's career had followed a more traditional path, which had included directing Puccini's La Bohème for the Canadian Opera Company in Toronto and the musical The Spitfire Grill at the Grand Theatre in London, Ont., and playing the role of associate director for Mamma Mia! at New York's Winter Garden Theatre.
While he worked on The Magic Flute, he said, "without consciously knowing it at the time, it began to alter the kind of theatre that I wanted to be doing."
McQueen said he was now eager to explore how cultures could come together in a project and not so much blend as "inform" each other.
In Where Elephants Weep, a Cambodian man visits his homeland in the mid-1990s after immigrating to the United States as a child at the end of the Khmer Rouge regime in 1979. As he finds himself a stranger in a culture he no longer knows, he falls in love with a woman pledged to her brother's business partner in an arranged marriage.
The story reflects the mixture of Western and traditional elements of today's Cambodia: women in long silk skirts next to others in short dresses or pants; men praying at Buddhist pagodas in the morning and splitting their time between karaoke bars and sex workers at night.
At Friday's performance, the artists received a standing ovation, which is quite unusual in Phnom Penh, and at the reception afterward, Cambodians as well as foreigners were enthusiastic about the show, the few dissenting voices those who dislike musical theatre in general.
Where Elephants Weep was created by Cambodian music composer Him Sophy, Franco-American librettist Catherine Filloux and U.S. executive producer John Burt. McQueen met the team in Phnom Penh in 2003 while he was travelling in Asia. But with Burt and Filloux based in New York and Him Sophy in Phnom Penh, it would be four years before the three were ready to call on McQueen finally to stage the show.
The cast consists of one Cambodian singer and New York singers with Asian roots, as no Cambodians with musical-theatre-type voices could be found in the country. Actors, dancers and the 11 rock and traditional musicians are Cambodian.
Many of the scenes, and especially those at pagodas, involved "cultural protocol considerations," McQueen said: "I couldn't just stage the scene the way that I wanted to ... because to a [Cambodian] local audience, it might be complete confusion if they see monks doing something that monks would never do."
Customs in Cambodia are mainly taught through oral tradition, so McQueen relied on his Cambodian assistants to let him know whenever a scene did not ring true. And yet, he pointed out, "I still had to draw on what I know as a theatre maker - I can't abandon that because that's me, the storyteller - and I had to include the information that was coming at me and figure out a way of weaving them together so that they meet."
Most of the opera is in English with occasional Khmer songs and dialogue; subtitles were provided in English and Khmer.
Where Elephants Weep is being staged in Phnom Penh through Sunday, with plans to tour in Asia and North America, Burt said. As for McQueen, he is heading for the Galaxy Theatre in Tokyo where he will stage "Carousel, one of the most American musicals ever written, and I'm doing it in Japanese."
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