#LOVETHEATREDAY IS A CELEBRATION OF ALL THINGS STAGE. FOR A PRODUCTION TO TAKE PLACE, MANY BEES ARE WORKING BEHIND THE SCENES TO ENSURE WE REACH AS MANY PEOPLE AS POSSIBLE, WITH THE BEST POSSIBLE WORK. HERE ARE SOME OF THE ENGLISH TOURING OPERA BEES…
CÉCILE BEAUVILLARD, PRESS & MARKETING OFFICER
What is your role at English Touring Opera, what does it mean?
I am Press and Marketing Officer. I am one of the links between our cast and creative teams, journalists, photographers and marketing teams in partner organisations around the country, and I make sure we have innovative campaigns in place to get as many people as possible to see our work.
What’s the most exciting thing you do there?
The exciting thing about this role is its diversity, not one day is similar to the previous one. I can be writing copy, going to the BBC for interviews, discussing pricing policy with a venue… The most exciting thing is probably going to rehearsals, at a stage when it’s just a repetiteur, a director and a singer discovering a piece of music, and then seeing it on stage only a few weeks later. It always feels like a magic trick, even if it is really hundreds of hours of work.
What’s the biggest challenge faced by the performing arts today?
As far as opera is concerned, one of the challenges is probably that we are constantly working against the idea that it is an art form for the old, the white and the rich. So it’s a collective work to renovate the art form in a way that makes it accessible to a diverse audience. There’s no education needed to enjoy opera, and keeping tricket prices low is something we thrive to achieve. I grew up in a jazz family that wasn’t particularly interested in opera, I am not a musician, I first attended opera with no knowledge of it and I was literally stuck on my seat. I think music moves human beings in a very intimate way, and I think operatic voices can go incredibly deep in that intimacy.
Do you recall a particular #LoveTheatre moment?
My first-ever time at the Comédie Francaise in Paris to see Molière’s Bourgeois Gentilhomme aged about 6 was a big eye-opening moment. More recently, Ghosts at the Almeida with Leslie Manville really moved me, I loved Francesca Hayward’s debut at ROH in Alice’s Adventures in Wonderland. I have to admit that the Olympia Act in ETO’s production of The Tales of Hoffmann with Ilona Domnich and Sam Furness was a BIG #LoveTheatre moment!
A tough one: favourite opera/play of. all. times?
Oh this is difficult. Written on Skin by Benjamin is incredible. Matthew Bourne’s take on Swan Lake is a ballet I could see every week.
But the aria that is most likely to get on my neighbour’s nerves is this one: