From Opera To Soap Opera
Below is a MRR and PLR article in category Arts Entertainment -> subcategory Poetry.
From Opera to Soap Opera
Word Count: 642
Summary:
Spending time in a television news studio, whether on the floor or in the control room, reveals its unique musicality. Directions flow like a song through headsets to various crew members. The lively banter of camera operators blends with the technical cues from the control room, creating a rhythm all its own. In ChamberMade's "Crossing Live," this inherent music is set to an actual musical performance amidst a chaotic taping of a fictional news program, "The Day Report."Article Body:
Anyone who’s spent time in a television news studio, on the floor or control room, knows the musicality of its rhythms. Directions flow like a song through headsets to floor managers, camera operators, and lighting designers. The lively banter of camera operators harmonizes with technical cues like "zoom in," "tilt down," and "pan left." Discussions of gels, wattage, and tungsten lamps create a melody to the bass line directed at the vision mixer: "take one, take two." Then there’s the extended solo of the news anchor, delivering a half-hour aria with a diva-like flair.
ChamberMade's "Crossing Live" unfolds in real-time during a chaotic taping of a fictional current affairs program, "The Day Report." It captures the inherent music of the TV studio and sets it to music. Written by Matthew Saville, known for exploring sound intricacies in his debut feature "Noise," the play boasts a score by his wife and creative partner Bryony Marks. "Crossing Live" is a rich sensory experience, packed into just an hour. With its video screens, layered soundscape, and dynamic action, it not only replicates the studio's music but also the sensory overload of television. Despite some minor technical mishaps during the preview, Ariette Taylor's production is precise. Her orchestration of Scott Zero's slick video graphics, Shaun Gurton's open set design, and Brett Kelly's talented musicians is engaging.
Dimity Shepherd shines as Paula Day, the anchor of "The Day Report." She embodies both the source and target of the piece's satire. With a deliberately short attention span and even shorter skirts, Paula is a caricature of the modern anchor. Her interests revolve around Logies, hairstyles, and derisively mentioning an ex-soap star turned pop idol. The news is only of interest if it promises high ratings. Her plan to elicit tears from a bushfire victim?"without mentioning the tragedy until after the commercial break?"showcases the superficiality of her reporting. "We'll be right back," she declares.
Mezzo-soprano Shepherd skillfully oscillates between her roles as a ditzy blonde, operatic diva, and archetypal anchorwoman, complete with polished, reassuring tones. While Saville's script?"Shepherd is the only cast member who sings?"isn’t vocally challenging, she owns it. Playing to both the cameras and the audience, she brings to life the sexed-up, pseudo-journalistic flair that clearly inspired her character.
The target might seem overdone?"female current affairs anchors are easy subjects for satire?"but "Crossing Live" offers fresh insights into the aural textures of the news studio. While Naomi Robson and Anna Coren aren't widely regarded as serious journalists, and current affairs shows on commercial channels are in decline, this satire brings a refreshing take. It puts the soap back into opera and vice versa.
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