View source for Dialogues of the Carmelites 08

[[Category:Productions]]

[[Category:Opera]]

[[Category:New Athenaeum]]

== Dialogue of the Carmelites ==

Music by [http://en.wikipedia.org/wiki/Francis_Poulenc Francis Poulenc] 

Text from the drama by [http://en.wikipedia.org/wiki/Georges_Bernanos Georges Bernanos] 

Adapted with the authorisation of Emmet Lavery 

From a story by [http://en.wikipedia.org/wiki/Gertrud_von_Le_Fort Gertrude Von Le Fort] 

And a scenario by Rev. Bruckberger and [http://en.wikipedia.org/wiki/Philippe_Agostini Philippe Agostini]
 
Property of [http://en.wikipedia.org/wiki/Casa_Ricordi CASA Ricordi] (Milano) – Universal Music Publishing Ricordi S.r.l 


----


Director: [[Nicolette Molnar]]

Conductor: [[Timothy Dean]] ,  [[Geoffrey Paterson]]*''Conductor (25 June)''

Designer: [[Alison Nalder]]

Lighting Design: [[Callum Howie]]

== Designs ==
'''Costume Designs'''
<Gallery>
Image:Blanche1sml.jpg 
Image:Blanchesml.jpg
Image:Marquissml.jpg
Image:Carmelite chorussml.jpg
Image:Carmelitechorussml.jpg
Image:Carmelitesml.jpg
Image:Bonnet1sml.jpg
Image:Act3robesml.jpg
Image:Commissionerssml.jpg
Image:Chevaliersml.jpg
Image:Chevaliersml2.jpg
Image:Img018.jpg
Image:Meremariesml.jpg
Image:Townsfolk chorussml.jpg
Image:Valetsml.jpg
</Gallery>

== Photographs ==

[http://www.flickr.com/photos/25364925@N07/sets/72157605691451979 Flickr] set by [[Steve Macluskie]]


[http://www.flickr.com/photos/xtinem/sets/72157605906416203 Flickr] set by [[Christine Murphy]]

== Show Dates ==
Saturday 21st June

Monday 23rd June

Wednesday 25th June

Thursday 26th June

'''New Athenaeum Theatre, RSAMD, Glasgow'''

== Press ==

[http://www.theherald.co.uk/search/display.var.2357292.0.opera_dialogues_des_carmelites_rsamd_glasgow.php The Herald Monday 23rd June 08]


== Synopsis ==

The opera is set in Paris and Compiègne during the French Revolution and 
ensuing Reign of Terror.  It is based on the true story of the martyrdom of sixteen 
Carmelite nuns from Compiègne. 

Act One 

Scene 1.   Paris, April 1789.  The library of the Marquis de La Force. 

The Chevalier de la Force is anxious about the safety of his sister Blanche amid the 
growing unrest in Paris. The Marquis feels that his son is being overly protective 
until he hears that Blanche’s carriage was seen surrounded by an angry mob.  
This brings back the haunting memory of the terrifying riot in which he and his 
pregnant wife had been trapped.  The consequence was the premature birth of 
his daughter and subsequent death of his wife.  The Chevalier is concerned about 
the effect this experience will have on his sister’s fearful and morbid nature.  
Blanche returns home unharmed, but is tired and nervous.  She retires to her 
room, but returns only moments later having been scared by the shadow of the 
Valet.  She has reached a decision; unable to cope with the anxieties of everyday 
life, she wishes to become a Carmelite nun.  Her father urges her to reconsider, 
but she feels that only by renouncing the world will God be able to restore her 
honour. 

Scene 2.  The parlour of the Carmelite convent at Compiègne. 

The ailing Prioress questions Blanche about her desire to take the veil.  When 
Blanche marvels at her detachment from worldly comforts, the Prioress suggests 
that detachment from self is the greater goal.  Blanche admits that what draws 
her to the Carmelites is the desire for a “heroic life”.  The Prioress warns Blanche 
that she will be stripped of such desires and illusions.  She outlines the first 
purpose of the order: prayer.  Blanche believes God will give her the necessary 
strength, but the Prioress replies that God tests weakness not strength.  However 
severe the regime, Blanche feels the convent is her only refuge.  This perception 
of the convent as a refuge infuriates the Prioress, but she stills asks Blanche if 
has already chosen her Carmelite name in case she is accepted into the order.  
The answer startles her: Soeur Blanche of the Agony of Christ...

Scene 3.  The workroom and garden of the convent 

Blanche and another young novice, Soeur Constance, are performing their daily 
chores.  Constance’s light-hearted chatter irritates Blanche who scolds her for 
being in such good spirits while the Prioress lies dying.  Eventually Blanche 
admits to being envious of Constance’s cheerfulness.  Constance has never been 
afraid of death; life is fun, so why shouldn’t death be also?  Constance suggests 
they both offer their lives for that of the Prioress, but Blanche rejects the idea as 
childishness.  When Constance reveals that she believes they will both die young 
and together, Blanche is horrified. 

Scene 4.  A cell in the convent infirmary. 

The Prioress lies on her deathbed.  She confesses to Mère Marie that God has 
become but a shadow to her.  Despite a lifetime of prayer and contemplation, she 
feels isolated and fearful, and unprepared for death.   She reveals that Blanche’s 
choice of name, ‘the Agony of Christ’ has greatly moved her as it was the name 
she had originally intended to take herself.  Of all her charges, she is particularly 
concerned about Blanche’s future wellbeing and entrusts her to the care and 
protection of Mère Marie.  When Blanche arrives, the Prioress tenderly bids her 
farewell with the final recommendation not to despise herself, but to entrust 
her honour to God’s keeping.  The Prioress begs the Doctor for more medicine, 
but he refuses.  As her death agony begins, the Prioress grows delirious and 
she cries out against God.  She has a vision of the convent chapel empty and 
desecrated.  Mère Marie attempts to keep the other nuns away, but Blanche is 
drawn mysteriously back and witnesses the Prioress’ agonized death and last 
words, ‘death....fear of death”. 

'''INTERVAL'''

Act Two 

Scene 1.  The convent chapel. 

The nuns keep vigil over the body of the dead Prioress.  When Blanche and 
Constance’s watch comes to an end, Constance leaves to summon their 
replacements.  Left alone with the corpse, Blanche takes fright.  As she runs 
away, she is confronted by Mère Marie who reproaches her,  but urges her not to 
dwell on the incident.
 
Interlude 1.  The convent garden. 

Blanche and Constance finish the flower cross they have made for the Prioress’ 
grave.  Constance hopes Mère Marie will be named the new Prioress.  She 
expresses her surprise at the Prioress’ troubled death and her belief that this 
death was wrongly given to her by God.  As a result, someone less worthy will 
be amazed by an unexpectedly peaceful and easy death.  ‘We don’t die for 
ourselves’ she explains to Blanche, ‘but for each other - or perhaps even in the 
place of another.’
 
Scene 2.  The chapter room. 

The nuns are addressed by the new Prioress.  She warns them that the days 
of peace and security are now over and unknown trials await them.  Whatever 
faces them in the future, the nuns should not aspire beyond their humble duty of 
prayer.  ‘Prayer is a duty, martyrdom a reward.’ 

Interlude 2.  A hallway inside the convent. 

The violent ringing of the doorbell in the middle of the night, awakens the nuns.  
The Chevalier de la Force is leaving to join forces with Monsieur le Prince (Louis 
XVII’s brother) in an attempt to rescue the king and wishes to see Blanche before 
he goes.  The Prioress grants permission, but asks that Mère Marie be present at 
their meeting. 

Scene 3.  The parlour of the convent. 

The Chevalier finds Blanche distracted and distant.  Their father fears for her 
safety in the convent and has sent him to urge Blanche to return home.  The 
Chevalier accuses her of staying in the convent out of fear, or her fear of fear, 
but she refuses to return to a world which has poisoned her with doubt.  She 
begs him to respect her decision to be a Carmelite and to accept that she is now 
a companion in the battle: ‘they will both be fighting, but in their own way and 
with their own dangers’.  After her brother leaves, Blanche breaks down and 
confesses to Mère Marie that it was pride that made her reject his pity.  She is 
instructed to rise above it. 

Scene 4.  The sacristy 

The Chaplain of the convent announces that it has been forbidden for him 
to continue performing his duties.  Blanche worries about his safety, but he 
explains that he intends to disguise himself.  He takes leave of the nuns assuring 
Blanche that he will remain nearby.  Constance is appalled by the cowardice of 
the French people.  ‘Is there no one left who will defend the country’s priests?’  
‘Where there are no priests’, says the Prioress, ‘there will be martyrs to maintain 
the balance of grace.’  Mère Marie takes this as a sign that the Carmelites will 
be amongst the martyrs, but the Prioress warns that such matters are not for 
them to decide.  The Prioress and Mère Jeanne leave the sacristy.  The Chaplain 
rushes in, having been caught in the street between the crowd and a patrol of 
soldiers.  He worries about the nuns’ safety if he should be found with them, 
but has no other choice than to take refuge in the convent.  The people demand 
that the convent doors be opened.  At Mère Marie’s order the doors are opened 
to the mob and two Commissioners.  The First Commissioner announces that 
the Legislative Assembly has banned all religious orders and that the convent 
is to closed and sold.  Mère Marie asks for the nuns to be provided with civilian 
clothing.  As she argues with the Second Commissioner about the ‘uniform 
not making the soldier’ and the value of martyrdom at a time of revolution, he 
confesses to being sympathetic to their plight; sometimes it is necessary to ‘run 
with the wolves’.  As the Commissioners and crowd leave, Mère Jeanne enters to 
inform the nuns that the Prioress has been ordered to report to Paris.  She brings 
with her a little statue of the baby Jesus, the “Little King of Glory” and gives it to 
Blanche for comfort.  Startled by shouts from the crowd outside, Blanche drops 
the statue and breaks it. 

'''INTERVAL'''

Act Three 

Scene 1.  The convent chapel, desecrated and ruined. 

In the Prioress’ absence, Mère Marie assumes charge.  She proposes the nuns 
take a vow of martyrdom so as to preserve and save the order.  The Dean of 
the community, Mère Jeanne expresses her fear that the taking of this vow 
may divide the community or even go against one’s conscience.   Her concern is 
alleviated on hearing that the decision must be unanimous and that a secret vote 
will be taken, overseen by the Chaplain.  There is one vote against.  Blanche is 
suspected, but to everyone’s surprise, Constance claims the vote was hers.  She 
begs to be allowed to reverse her decision.  Blanche and Constance are the first 
to assume the vow, but as the others take the vow, Blanche flees. 
 
Interlude 1.  A street outside the convent. 

The Prioress has returned from Paris and leads the nuns as they leave the convent.  
An Officer welcomes them to their new lives as civilians of the Republic, but 
warns that they are under surveillance.  They are forbidden any further practise 
of their profession or any contact with priests and other ‘enemies of the State”.  
The Prioress sends a message to the Chaplain, who had agreed to conduct mass 
for them later that morning, warning him that it is too dangerous to meet.  Mère 
Marie protests that such caution goes against the vow they have taken.  Taking 
the vow may have been ill-advised,  but the act cannot now be undone.  The 
Prioress takes upon herself full responsibility for the well being of the community 
and overrules the objection. 
 
Scene 2.  The destroyed library of the Marquis de La Force. 

Mère Marie has come to Paris in search of Blanche.  She finds her living as a 
mistreated servant in her father’s ransacked house. Mère Marie offers to take 
her to safety, but Blanche just wants to be left alone.  She has always lived in 
fear and as the world despises fear, believes it is only right that she too should 
be despised.  She feels unworthy of her father who only a few days earlier was 
guillotined.  Mère Marie reminds her that it is no misfortune to be despised, but 
only to despise oneself.  Despite her protests, Mère Marie gives Blanche the 
address of a safe house and says she will await her there.

Interlude 2.  A street near the Bastille 

Blanche hears that the Compiègne Carmelites have been arrested. 

Scene 3.  Daybreak in a prison cell at the Conciergerie. 
The nuns have been brought to Paris and have spent their first night in prison.  
The Prioress comforts them and assumes the vow of martyrdom herself, along 
with its responsibility.   Constance is anxious about Blanche, but feels certain that 
she will return and join them.  The Gaoler delivers the verdict of the Revolutionary 
Tribunal.  The nuns have been found guilty of sedition and all condemned to 
death.  The Prioress tells her charges she wishes she could have spared them 
from this sacrifice, and places them under obedience to her for the last time. 

Interlude 3.  A street near the Bastille 

The Chaplain tells Mère Marie that the nuns have been condemned to death. She 
is determined to join them, but the Chaplain stops her.  He reminds her that her 
vow was made  to God and that it is in God’s hands to chose or spare whom he 
pleases.  She is distraught that her sisters will go to their death without her, but 
the Chaplain insists that she must submit to her deliverance as God’s will. 

Scene 4.  Place de la Révolution, 17 July 1794. 

One by one the nuns go to their deaths singing the Salve Regina until only the 
voice of Constance remains.  She falters momentarily, but regains strength when 
she sees Blanche step out from the crowd.   When Constance’s voice is silenced, 
Blanche fearlessly continues singing the closing words of the Veni Creator; 
thereby sealing her fate alongside that of her sister Carmelites.

== Production Team ==


Production Manager [http://www.uk.stagejobspro.com/view.php?uid=71634 David Ripley]

Stage Manager: [[Susan Scott]]

Deputy Stage Manager: [[Calum Wyllie]]

Asst. Stage Manager: [[Stephen Spence]]

Asst. Stage Manager: [[Anne Hamilton]]

Technical Stage Manager: [[Graeme Mackie]]

Deputy Technical Stage Manager: [[Ashley Thomas]]

Stage Automation : [[Steve Macluskie]], [[Stephen Roe]]

Production Electrician: [[Peter Strain]]

Stage Electricians: [[Kevin Cullen]] , [[Sean McKenzie]] 

Lighting Operator: [[Michaella Fee]] 

Costume Makers: [[Emma Grindlay]] , [[Laura Montgomery]] , [[Susan Beattie]] 

Assistant Costume Makers: [[Rachael Bamford]] , [[Ashleigh Blair]] , [[Kelli Des Jarlais]] , [[Richard Evans]] , [[Katrina Kelly]] , [[Ayden Millar]] , [[Gemma Patchett]] , [[Avril Scott]] 

Paintframe Manager: [[Stephanie Todd]] 

Scenic Artists: [[Mhairi Begg]] , [[Marthe Hoffman]], [[Marianne McAra]], [[Emilie Velluet-Draper]],  [[Jennifer Walker]]

Scenic Painters ; [[Ashleigh Blair]] , [[Richard Evans]] , [[Alasdair Head]] , [[Holly Hodgart]] , [[Gary Loughran]] , [[Ayden Millar]] , [[Gemma Patchett]] , [[Avril Scott]]  

Carpenters: [[Laura Montgomery]] , [[Marianne McAra]]

Assistant Carpenters: [[Iain Waugh]] 

Props Workshop Manager: [[Astrella Oldham]]

Prop Makers: [[Helen Allingham]] , [[Gordon Bavaird]] , [[Niall MacGillivray]] , [[Christine Orr]]

Milliners   : [[Emma Grindlay]] , [[Laura Montgomery]] , [[Kelli Des Jarlais]] , [[Rachael Bamford]] , [[Ashleigh Blair]] 

Stage Technicians: [[Calum Willoughby]] [[Kirsty Campbell]] [[Emma Whoriskey]]

== Cast ==

Marquis de la Force - Benjamin Weaver 

Blanche de la Force - Catharine Rogers 

Chevalier de la Force - Reuben Lai 

Madame de Croissy - Louise Collett 
(the Prioress) 

Madame Lidoine.- Fiona Scott**/ Margret Einarsdóttir 
(the new Prioress)    
                                    
Mère Marie - Bohae Kim /  Elysia Leech** 
(Assistant Prioress) 
                                    
Soeur Constance - Bronagh Byrne / Sung Eun Seo** 
                                                                             
Mère Jeanne - Marion Ramsay 

Mère Mathilde - Emilie Alford 

L’Aumonier (Father Confessor) - .James Geer 

First Commissary - Leonel Pinheiro 

Second Commissary - Andrew McTaggart 

First Officier - Andrew McTaggart 

Jailer - Richard Latham 

thierry (A footman) - Bryan Benner 

Doctor Javelinot -  .James Smyth 

 **Saturday 21st and Thursday 26th June

== Nuns ==

Emily Alford 

Marie Claire Breen 

Rachael Brimley 

Jessica Broad 

Sandison Hannah 

Caroline Kennedy 

Monica McGhee 

Alison McNeill 

Catriona Morrison 

Marion Ramsay 

Thelma Sigurdorsdottir 

Lynda-Jane Workman 

Ge Yu 

== Chorus ==

Victoria Atkinson 

Jonathan Cooke 

Christopher Hann 

Rebecca Hooper 

Bartholomew Lawrence 

Xiaolu Liu 

Helen Lomas 

Emily Mitchell 

Barry McAleer 

Jamie Munn 

Christopher Nairne 

Aileen Saunders 

Ross Sharkey 

James Smyth 

Claire Thompson 

Charlotte Whittle


== Orchestra ==
 
'''Violin I'''

Alan John , Elaine Sexton , Catherine Robertson , Gordon Duncan , George Smith , Alex Smith, Laura McKinlay , Kristan Harvey 

'''Violin II '''

Kathleen McCrudden , Katie Stone , Daniel Paterson , Kay Stephen , Emily Mory, Megan Henderson , Viola Emma Peebles , Panna Kukuszi , Alastair Mailer , Liam Redmond 

'''Cello'''

Abigail Hayward , Laura Sergeant , Emma Turley , Marianne Diessner 

'''Double bass'''

Ed Lucas, Christine Cooper

'''Flute'''

Sharon Dowsett , Lucy Driver    
                        
'''Piccolo''' 

Sarah Hayes 

'''Oboe'''

Arlene Cochrane , Siobhan Donnelly 

'''Cor anglais''' 

Andrew Nunn 

'''Clarinet'''

Abraham G Chavez , Amy Strachan 

'''Bass clarinet''' 

Rebecca Humphreys 
                         
'''Bassoon'''  

Graeme Brown , Judith Barclay 

'''Contra basoon''' 

Anna Mary Lynch 
                            
'''Horn'''  

Samantha McShane , Craig MacDonald , Jamie Shield , Shangdian Wang 
 
'''trumpet'''

Anna Cox , Mandy Murphy , Fiona Pitcathley 

'''Trombone'''  

Helen Douthwaite , John Connolly , Gordon Seith 

'''Tuba''' 

Jennifer Moore 

'''Timpani '''

Amy Sherry 

'''Percussion'''

James Swan , Alison Shaw
 
'''Harp'''

Charlotte Sager , Kirsteen Fowler 

'''Pianoforte''' 

Ellen Lampo , Susannah Wapshot