Albarn breaks with tradition

Dr Dee – Manchester International Festival – Palace Theatre.

DAMON Albarn’s newest artistic creation ‘Dr Dee’ is described as a very English opera.

While themes of Englishness, empire and the royal courts are very much apparent from the outset, this is hardly tradtional operatic fare.

For one thing, the action happens on three levels – the orchestra pit housing the BBC Philharmonic, is the underworld, the stage is the earth and a moving balcony which rises high up to the circle is the heavens.

Inside the balcony is a line-up of musicians playing Renaissance instruments such as flutes, lutes and dulcians, but also famed drummer Tony Allen and Malian musician Mamadou Diabate on the traditional Kora.

This is also where composer and co-creator Albarn sits for the duration of the show performing ten songs in the form of narrator.

And not forgetting that the main character Doctor John Dee, played by Bertie Carvel, barely sings or speaks.

The plot is based on the life of the Renaissance man Doctor Dee.

Born in 1527, the mathematician, astrologer and alchemist was advisor to Queen Elizabeth 1. But he also sought to explore the supernatural and communicate with angels.

It was his seances with ‘medium’ Edward Kelley, a fraud whose ‘powers’ told Dee to swop wives, that ultimately destroyed his reputation and saw him die in poverty in 1609.

Albarn, the Blur frontman, has said the opera is not a biopic, rather a selection and exploration of themes such as the struggle between light and darkness, science and spirituality.

Visually that is done to great effect. The set, the sumptuous costumes and clever stage management are a joy to watch and credit must go to co-creator and director Rufus Norris and his talented team.

Most of the lyrical stuff is left to Albarn and the rest of the company, including countertenor Christopher Robson, who plays a brilliantly dark and sleazy Kelley.

And the music is a mixed bag of styles rather than traditional operatic score.

But whether Albarn’s themes are explored enough during the 90 minute production, and whether we know enough about Dee to ultimately care about the tragic figure, is another matter.