Treemonisha Queen's Theatre, Barnstaple Review: Jo Wood

SURELY almost everyone who went to see and hear Treemonisha had little idea what to expect.

This is an opera by Scott Joplin, who remains famous for his ragtime music long after his death. But opera? How was that going to work?

A simple set of tree trunks, well lit, gave little away; as did the plain costumes in muted tones. It was the musicians in the pit which gave a special flavour to the piece. This was a brass-heavy jazz orchestra with a completely 'new' sound. The challenging score had elements ranging from ragtime and cake walks, to the full blown turn of the century classical style you find in Gilbert and Sullivan.

In places it was like Gersh-win; at other times religious or military; or even more like the silent film music of the time. It was like nothing we had ever heard before.

You might have expected to have problems following the story, but by various means it was all made clear. The lyrics are worded simply, reflecting, one supposes, the language of slaves in a plantation community in the deep southern states.

There were many references to Negro Spirituals and the Bible. Helpfully the Chorus choreography often enacted what was being sung, almost word for word, which could have seemed stultifying but was rather appealing.

Pegasus Opera Company from London is mainly made up of black minority ethnic opera singers making Treemonisha the perfect vehicle for their talents.

Soprano Donna Bateman in the title role has a fine voice and an impassioned delivery, which would suit Carmen Jones. Maureen Braithwaite as Monisha also impressed; and Herbert Perry as Ned hit some impossibly low notes. It was especially the Chorus which intrigued me, as Pegasus Opera encourages community involvement. It was good to see a large company fill the stage, working tightly together, and effortlessly filling the theatre with sound. What an experience. I hope they come back next year.