In the making for some four-and-a-half years (its genesis detailed in Sawers informative Diary of an Opera included in the programme), From Morning to Midnight is an adaptation of Georg Kaisers prototypical expressionist play Von morgens bis mitternachts of 1912. Ever prescient in his depiction of social alienation, Kaisers title should be taken literally. As Tim Ashley points out in his programme article, From Every Morning to Every Midnight more accurately describes the thrust of the play: focusing on the actual process of action, rather than delineating character as such.
It is here that Sawers treatment is most questionable. In the snow-covered field of scene 3 - following the Cashiers reckless decamping with 60,000 marks, only to find that the Lady at the bank is not a crook but a bona fide art-collector there is a monologue in which he agrees a Faustian pact that death may claim him at midnight, in return for an afternoon of monetary enlightenment. Sawer seems uncertain whether to define the Cashier as a human entity, making him the focal point of what will follow, or treat him as incidental to a chain of events, over which he will have no discernible influence. What transpires seems fudged: instead of being a still-centre around which the drama revolves, the scene feels more a static interlude in a linear sequence of episodes. This shifts the perception of the opera in a way that Sawer may not have intended, the Cashier never engaging our sympathy as fully as he should.
Certainly the other six scenes work well, both as instances of stereotypical behaviour, and as a streamlined overview of one persons 15-hour Fall to Crucifixion. Sawers idiom, absorbing harmonic elements of Debussy and Messiaen, as well as more gestural ones from Britten, impresses itself on the listeners mind, and is flexible enough to draw the scenic contrasts into a cohesive whole. In this, he is aided by Richard Joness tellingly thought-through direction, and Stewart Laings plain but appealing designs.
Thus the routine of bank life in scene 1 is given an aura of mindless repetition, Sawers decision to withhold the voices in the opening minutes amply justified, and the confrontation with the Lady in scene 2 a finely-judged duet of mis-communication. The social collapse brought about in the Cashiers house in Scene 4 has an appropriate kitchen-sink humour, with Sawers working of the Tannhäuser mis-rendition into the musical fabric a deft touch. The Velodome races of scene 5 are well brought-off theatrically, though the arrival of the Kaiser is a potential coup-de-theatre that, at least on opening night, was muffed. Likewise the nightclub ambience of scene 6, lucidly structured as a musico-dramatic scherzo with three trios, but too redolent of similar scenes in Bergs Lulu either to provoke or amuse. Yet the sequence in the Salvation Army hall of scene 7 ties up the narrative strands effectively, characters re-emerging to confess their sins more out of opportunism than contrition - as the response to the Cashiers distribution of wealth and his betrayal by the War Cry vendor amply confirms. His Nietzschean death-rasp is superb theatrical understatement, after which the Policemans pay-off is an unnecessary distraction.
There can be nothing but praise for John Daszaks assumption of the Cashier, on stage for almost all of the operas 110 minutes. Projecting with conviction what sounds a gratefully-written vocal line, he evokes sympathy and not a little pathos in his ineptitude, even if the Everyman conception of his character precludes greater identification. Kathryn Harries makes an appealing Lady in the opening two scenes, snapping the Cashier out of his existential stupor. Gail Pearson strikes the right pose as the not so jejune Salvation Army Girl. Of the remaining vocalists, all taking on multiple roles, Mark Le Brocqs Commissionaire, Linda Kitchens Daughter, Susan Bickleys Salvation Army Officer and Roderick Williamss Waiter impress as vignettes who essentialise something of their particular scenes. Martyn Brabbins gets a committed response from the ENO orchestra; passing awkwardness, as with the mysterious extra curtain in scene 4, will no doubt be ironed out over the run.
Whatever its conceptual uncertainties, From Morning to Midnight is absorbing theatre; less a morality play than a parable of amorality. Sawer offers neither condemnation nor indictment - but a barbed entertainment, to which the audience responded with knowing but uneasy enthusiasm.
- Further performances on May 4, 9 and 15 at 7.30; May 12 at 6.30
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