COCTEAU’S CIRCLE | AUSTRALIAN CHAMBER ORCHESTRA

3 ½ stars

The City Recital Hall was crammed to the rafters last night. The crowd were keen to see the much anticipated opening to the tour “Cocteau’s Circle” with the Australian Chamber Orchestra. Based around the social circle of Jean Cocteau from 1920s-1940s, the music was a mix of classical, jazz, contemporary and period ensemble pieces which deconstructed – or downright rebelled against – the classics of the earlier Romantic period.

Directing on stage was Music Director Richard Tognetti, as wonderful as usual. The music selection featured many opportunities for his solos which are always much appreciated. The ensemble was kept small with staging by Yaron Lifschitz themed like a 1920’s Parisian club.

Who was “Cocteau”? Jean Cocteau was an extraordinary, multi-talented artist and networker. Freed from the constraints and anxiety of poverty, he was raised in a socially prominent family. His father died by suicide when Jean was just 9. Raised by his mother until Jean left home at age 15, he continued a deep and loyal relationship with her for the rest of her life.

Stepping out into the Parisian world, Cocteau quickly made himself at home amongst the Bohemian cafe crowd and published his first book of poems as a teenager. If you’ve ever watched Woody Allen’s movie “Midnight in Paris” you may remember how the male lead Gil, played by Owen Wilson, becomes enamoured with the idea of living in Paris during the 1920s surrounded by this very same group of people. He is taken back in time and the first party he visits is one being held for Jean Cocteau.

This circle of friends and associates were the prime movers and shakers of art, literature, music, philosophy and film making. They frequently hung out together talking and swapping ideas. All rules went out the window and the experimentation was taken to the extreme which the crowds either loved and caused a riot or hated and caused a riot. There was a similar artistic incubator in Paris in the 1890s “La Belle Epoque”. In both periods of time, arts and culture made enormous progress in leaps and bounds due to talented artists mingling and swapping ideas. This, once again, boosted Paris to become the artistic leader of the western world.

As the years progressed, Cocteau’s great networking skills resulted in countless opportunities to spread his artistic wings. Aside from poetry, he wrote novels, published books with erotic drawings, directed and wrote films, stage plays and libretto for Diaghilev’s Ballets Russes. He even designed sets for their productions.

Stepping back to 1920, Cocteau connected himself to the infamous “Les Six” composers via his friend, Darius Milhaud. Five men (including Milhaud) and one woman made up the six.

Their favourite hangout was the cabaret bar “Le Boeuf sur le Toit” (Ox on the Roof) in the 8th Arrondissement of Paris. Music chosen for this concert was based around the composers who would have mixed in Cocteau’s Circle and enjoyed many a night at Le Boeuf. Interspersed with the historic music were a series of interludes composed by Australian composer Elena Kats-Chernin.

Accompanying the orchestra were two performing artists. Soprano Chloe Lankshear is well familiar to Pinchgut Opera audiences. She was their inaugural Taryn Fiebig Scholar a few years ago. Surprisingly dressed in a man’s suit, her painted bright red lips were the only visual femininity on stage. It would have been such a great opportunity to show of some seriously gorgeous 1920s/30s evening dresses, such a pity. Without this visual support, Lankshear had to work extra hard in her performance to compensate. The range of songs given to her was broad from the very girly “Bien Chapeautée” from the musical Phi Phi, the deathly “Pie Jesu” by Lily Boulanger (Nadia’s sister), through to Torch songs like “L’Hymme à l’amour” by Edith Piaf. It was a very challenging repertoire and the audience appreciated her efforts.

In stark visual contrast, standing at around 6 1/2 feet plus heels, was British drag artist Le Gateau Chocolat who had a change of clothes for every appearance, recited poems, more generally set the scene with descriptions of life in the Parisian cafés and sang with the orchestra. The poem recitation was superb though the songs seemed below standard. It’s possible the musical arrangements were not in a comfortable key or there was lack of time for rehearsal. You may find the performance improves as the tour continues. It was clear there were some problems, however, Le Gateau Chocolat was the ultimate professional gliding over bits that didn’t go so smoothly and holding composure during the overly sentimental and very difficult 1970’s song “Stars” by modern composer/performer Janis Ian. (Not sure how this one fits into the program.)

The instrumental choice of works was just as varied. Even though the staging was set for a cabaret club, there were some very serious pieces indeed, which temporarily lowered the vibe in the auditorium. However, mid performance came a marvellous movement  “Vif et agité” from Ravel’s String Quartet which perked up the musicians and audience alike. Another was Debussy’s String Quartet Op. 10 “Assez vif et bien rythmé” which is always fun. The performance closed with Milhaud’s “Le Boeuf sur le Toit”, which got the toes tapping, and the Piaf Torch song made for a strong finish.

What’s great about the concept of “Cocteau’s Circle” is the cabaret theme. This idea offers great flexibility. When next presented, it can be continually tweaked to add music which suits the voices of the individual performers and more closely attends to the emotional needs of the audience. Cocteau’s Circle can be seen as a work in progress with truly great potential to entertain for many years to come.

Just as the character Gil does in Midnight in Paris, many may wonder what amazing artistic progress could be made if we were able to draw creative people together again in the cafe and cabaret circles. I expect something dramatic would have to happen to distract people’s eyes and attention away from their digital devices. The genii are certainly out there but, alas, many of them sit alone at home drawing inspiration from the internet on their screens. It’s nowhere near as colourful a life, don’t you think?

Artists

Music Director: Richard Tognetti
Le Gateau Chocolat
Chloe Lankshear
Australian Chamber Orchestra – Satu Vänskä, Aiko Gotu, Ilya Isakovich, Liisa Pallandi, Ike See, Stefanie Farrands, Jenny Khafagi, Kaori Yamagami, Julian Thompson, Maxime Bibeau, David Griffiths, Brent Grapes, Nigel Crocker (quite the character), Brian Nixon and Stefan Cassomenos.

Related Links

Dates for next performances with Australian Chamber Orchestra: https://www.aco.com.au/whats-on
Le Gateau Chocolat: https://legateauchocolat.com/in-drag/
What’s on Sydney at City Recital Hall: https://www.cityrecitalhall.com/
Boeuf sure le Toit Restaurant in Paris brief history (translated): https://boeufsurletoit-com.translate.goog/a-propos/?_x_tr_sl=la&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp