What happens when a brilliant actor and theatre-maker like Simon McBurney, who comes from a tradition of devised work and physical performance rooted in freedom and improvisation, is invited to direct an opera, where text and score are almost completely fixed by composer and librettist, and the typical traditions of performance associated with the art-form are encrusted with apparent inflexibilities? Musical storyteller and composer, Gerard Mc Burney, brings his encyclopaedic knowledge of music and history to this collaboration.
How can two brothers, approaching the problem but from different sides - one as a maker of theatre, the other as a maker of music - help one another in this situation?
How does an artist working in one field approach another that seems on the surface so completely different?
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