Exploring truth and power through opera and dance in Opera North’s Susanna

Susanna is the fourth collaboration between Opera North and Phoenix Dance Theatre. Keen to find out why these two companies have chosen to tackle a lesser-known work by Handel, we spoke to director Olivia Fuchs and choreographer Marcus Jarrell Willis about their new production which arrives at Newcastle Theatre Royal on Friday 7 November.

Inspired by a biblical story, the piece tells the tale of a young married woman, Susanna, who attracts the attentions of two powerful men from the community. After she resists their advances, they falsely accuse her of promiscuity. It is a story that has it all: gender imbalance, the corruption of power and the question of where truth lies and who we choose to believe.

While both Olivia and Marcus love Handel’s music, merging dance and opera has also given them new possibilities for creatively exploring the issues the work raises. “We have sought to make it contemporary and relevant,” Olivia says. “The two layers – dance and the sung narrative – open up extraordinary potential. Marcus and I have spoken about counterpoint, about reflection, about revealing what lies beneath the surface.

“At times, the dancers embody the central characters; at others, they move in tandem with the singers, as if in a dream. For me, the possibilities lie in showing what could be – the truths that are not spoken outright, but are always present, always implied.”

Marcus and the Phoenix dancers were also drawn to the contemporary resonance of the work. He adds, “We had some very in-depth conversations about the treatment of women in the world and how that has carried on through the centuries.”

Enter another character, Daniel, who embodies truth and justice. It is this person who defends Susanna and, in so doing, exposes her accusers. Claire Lees from the Chorus of Opera North will be taking on the role, as Olivia and Marcus have re-imagined Daniel as being gender-fluid and therefore challenging the conventional ‘norms’ established by society.

“In our version,” Olivia continues, “Daniel is, in a way, the ultimate activist and the voice of the future – the new generation, who intervenes, who changes the course of the story, and who stands up for the oppressed.”

The idea of inviting new voices to be heard has also led to the inclusion of creatively integrated British Sign Language (BSL) through a character who embodies a version of Daniel. At times, this character interprets the opera’s language; at other times, they take on the role of commentator. According to Olivia, this asks us to reflect on “who is heard; who is believed.” This is, of course, central to the character of Susanna herself, In this production, Susanna’s final aria ‘Guilt, trembling, spoke my doom’, which takes place after she has finally been found innocent, becomes a moment to imagine the possibilities of what she could have said and what she still might do. Potentiality becomes power.

Dance provides another way of viewing the story. At one point, all the female members of the company embody Susanna simultaneously. Marcus elaborates: “Structurally, it’s very simple. They navigate the space, and every time they move to a new point, they have to be attuned to the person behind them. All four Susannas might be doing the same steps, but they’re each individuals; you see different qualities come out based on who they are. That tells the story of who Susanna is – or could be – but more importantly, it allows us to see them as dancers as well.”

Opera North and Phoenix Dance Theatre’s Susanna plays at Newcastle Theatre Royal 7pm on Friday 7 November. Tickets are available here.