I have wanted to direct this piece by Shostakovich for years, yet the fact that it is a product of Soviet conventions means that the sheer size of the orchestra and cast mean that it is unviable in most settings. However, for a university this production is perfect. There are ten principal roles in this piece, significant chorus input, and a rich orchestration. The plot line is whimsical and fun, and unlike most operas the ending is a happy one. 

It’s also a really brilliant piece for students as it is a real fusion of musical styles and pushes each individual to have a soloistic role in terms of the way that they perform. There are several dance and choreography moments and we have been fortunate to collaborate with seven dance students in the creation of this work who are integral to the piece. 

I didn’t think that it was in good taste to represent a ‘real’ version of Russia on stage given what is happening in the wider world so instead the creative inspiration was about creating an imagined world in which we could build a fantasy environment that served to be a comment on corruption more generally that exists both further afield and closer to home. The world that we represent puts the world of theatricality centre stage. Nothing about the creation of the show is hidden. Scene changes are exposed and we open the piece seeing our cast of 2024 stamping time cards and entering into their collective imagined world of 1950. This world takes deep visual inspiration from the Barbie film, The Truman Show, Downsizing and Pleasantville. 

It’s fun, it’s flamboyant and it’s action packed. 

In the three years that I have been at Shenandoah the cast size for the main stage opera has over tripled. Each and every student has invested hours of their time into this show and I hope you enjoy watching it as much as we have creating it. 

– Ella Marchment, director