Review: Sirena, The Glitch

As with the sailors of ancient myth, be prepared to be captivated by these modern day sirens, in a contemporary opera offering a feminist perspective on historical depictions.

This short (only 45 minutes) contemporary opera, Sirena, has three performers. Writer and central character Kirsty Ferguson-Lewis is joined on stage by Ilenia Cipollari and Franziska Böhm. The three women have really strong voices, complementing the music and each other perfectly. Their chemistry is particularly apparent in the very last, unaccompanied, song, which is sublime.

Ferguson-Lewis’ music is haunting and enchanted, then a witty and slightly upbeat piece sneaks up on you, such as the song ‘Finance 300’, which I found myself humming while smiling to myself on the journey home. The singers are accompanied by an electronic soundtrack which at one point I thought was in danger of being too loud risking drowning out the voices. However, it seemed to right itself, enhancing the singing and the generally eerie atmosphere, alongside the lighting. Different coloured spotlights, moving apparently randomly, give an unexpected emphasis to various parts of the room adding to the slightly unsettled feel.

Flowing grey-green costumes evoke the stormy seas typically associated with sirens, with the use of IT equipment and other props ensuring the present day setting is brought to the fore. Movement and choreography is another strength and under Selwin Hulme-Teague’s direction the action moves along nicely in the small performance space. There are things happening on the floor or quite low down which could be an issue with some of the sight lines at the Glitch, so be aware if you happen to be sitting behind a tall person. Apart from that, the intimate almost claustrophobic, venue is perfect for really getting drawn into the sirens’ world.

The sirens themselves are both powerful and vulnerable, sinuously seductive, enigmatic, funny and very much part of the modern world. So, why are sirens historically often portrayed as monstrous and evil? Is it victim blaming, or maybe a discriminatory excuse for poor seamanship? Sirena successfully challenges the traditional view with music, dance and humour and a lot is conveyed in such a short time.

This is Ferguson-Lewis’ debut opera. Such a strong first theatrical outing bodes well for the future and I look forward to seeing more productions from her.

Created and composed by Kirsty Ferguson-Lewis
Directed by Selwin Hulme-Teague
Light design by: James Denny
Produced by Kirsty Ferguson-Lewis

Sirena plays at The Glitch until Mondsay 25 August.