Yma Sumac

Internationally acclaimed Peruvian exotica coloratura soprano.

"My dear friends of Turkish Delight. I have heard your music from your opera and found it both unusual and lovely, of which I too have been accused! Thank you for sharing this with me and I will look forward to hearing more from you in your future projects. My best wishes to all of you."

 

 

Hans Edler

Prolific Swedish record producer, composer, and recording artist. 

The show Giles Howe has written with Katy Lipson is excellent! It is quite unique. It incorporates many exciting elements and styles of music. There are some really brilliant and unforgettable moments in his work. I am a fan, and I hope it is a success.

 

Phil Gable

Musical Theatre composer and producer

I myself have written a musical, worked the score and book, and I know what an extreme sport this is. I wish that parts of Turkish Delight were in there threading through my own songs; there are moments of genius at every turn. I love the eerie feel from the soprano and piano. This is a work of art; unique and fantastic in it's own right. I am blessed to know such inspiring people. Giles, when you write you are wired to the sky. Katy you are an Angel.

 

 

 

Extracts from a review by Alex Viac

 

SONGS - What an incredible collection of songs! Such stylistic ambition; I heard grand opera, Gilbert and Sullivan humour, silent movie music, Grand Guignol melodrama, camp comedy, ballads, duets, multiple-voiced harmonies, and all consistent with the dramatic themes. No-one could accuse the songs of lacking ambition. The duets and group songs are particularly impressive with their shared lines and musical sparring.

 

DRAMA - The first half really took off for me when the Turk is waiting with his flower. The song he sings is fantastic - he is really engaging with the audience's sympathies at the same time as revealing his own inner contradictions. You can't help but be charmed by him and also know the shit will hit the fan at some point. It is quite a poignant moment when he says that girls like flowers because it seems to sum up his attitude that he doesn't realize the possible tragic consequences of his actions. And in the rest of the first half, the action is cranked up really effectively. All four characters are well-rounded and well-defined as well as being so different from each other. Their menage-a-quatre (sort of) makes believable sense and you know it can't end well. Then the Turk gets killed. Killer ending to the first half! … A truly impressive achievement.

 

 

 

"Giles Howe and Katy Lipson give the perfect blend of opera's dramatic character and musical theatre's accessibility. A show that will make you laugh, despite being about madness, rage, suicide, and poisoning!"  - MyPaper.se 

 

 

Extracts from a review by Mags Gaisford

For Extra Extra

'The Turk' is not performing as he used to. His interests have left his marital boudoir to settle on the fresh - faced  'British Woman' whose youthful sex - appeal is launching him, right this minute, into a very promising career of adultery that will do proper justice to his devilish good looks. Meanwhile, an overly made - up and under - dressed Turkish wife despairs at the death of romance. Simultaneously, in England, the effeminate flat - mate of the 'British Woman' acknowledges his love for her and pines pathetically for his 'angel delight'. The 'British Woman' arrives in Turkey to re - ignite the passion of her holiday romance. She and the Turk celebrate 'soaring to new heights of pretension' in picturesque poses.

The 'British Man' decides to make the heroic gesture of a life - time and follow his love out to Turkey. The wife decides to continue stewing in lustful frustration. There's a glorious Queen - style chorus where the two broken - hearted characters watch the lovers from dramatically - lit spying booths and all are united in a general sense of passion. This is clearly going to end in tears. The characters sing in unison again, on a fateful night, 'tonight will only serve to encourage my neuroses'. Then there is a crime of passion and a long and messy aftermath.

 

The programme lists definitions of opera, musical, burlesque, soap opera and cabaret, to emphasise the piece's defiance of genre. A piano tinkling away backstage sets the pace and is the only accompaniment. It's quick and jumpy, alluding to silent - movie music, at times becoming operatic pastiche ... This works brilliantly at the start, as the plot gathers steam, shaping itself into an oh-so-knowingly cliche'd and highly camp rendition of the perils of your classic holiday romance. Its edginess prevents 'musical' style inertia, thus allowing, somehow, the characters to pull off some pretty terrible lines with style. The Turk (Adam McNab) sings a very funny justification for his 'first affair' including lines like 'I'm only human'.

 

The characters don't need more than one dimension each. These shameless stereotypes inhabit their strange little world of self-indulgence, negotiating their voices around erratic scales, hurling themselves like iron filings at the magnet of tragedy. They glow against the backdrop of James Wallace and Ric Lipson's sparse black set, whose main feature is a sliding bed for the ladies to languish upon.

 

…The second half involves the emotions left in the wake of events, which inspire some absurd, gothic actions and a lot of writhing and chest-beating… There are moments when keeping up with the absurdly ambitious musical score feels a little like indulging prodigal children let loose on the piano long after their bed time.

Betsy Cohen (the Turk's wife, and the only character with a name) is the most interesting and challenging character. Fraying at the seams, she clings manically to delusions of feminine allure whilst munching her way through a box of Turkish Delight.

 

There are some clever moments of synchronised contradictory statements, and some wonderful choreography towards the end, which does justice to the performance's bizarre and eclectic aesthetic.

 

 

 

 

 

Comments and reviews from www.jamendo.com

 

"Ces pas le genre de musique que j ecoute mais par curieusitee j ai ecouter. Bravos pour les voix ces pas mal apres tout ces un bon album .....bravos!"

This is not a genre of music to which I usually listen, but I listened out of curiosity. Congratulations for the voices which are not bad at all. A good album!

Je suis très friand et bon client de ce style si expressif et ici décalé, moderne et faussement décadant. La chanteuse assure quand même son cailloux!"

I am very fond of this style, how expressive it is and how it shifts between modernity and decadence. The female voice makes my blood curdle!

"Turkish Delight est un spectacle oscillant entre Opéra et Comédie Musicale où seulement 4   chanteurs poussent la chansonnette. Tantôt drôle tantôt tragique, les 4 acteurs/chanteurs (deux hommes et 2 femmes) nous entrainent dans l'histoire dramatique d'une liaison amoureuse. Folie, suicide, adultère, ... Un Britannique Gay et meurtrier et un Turque et 2 femmes dont une "folle". De l'Opéra surprenant... Niveau musical : de chouettes musiques et des chanteurs qui donnent de leurs personnes.

Turkish Delight is a spectacle oscillating between opera and musical comedy with only four performers   belting out short songs. Simultaneously comic and tragic, the four performers (two male and two female) tell a dramatic love story: Pretence, suicide, adultery… a gay Brit - a murderer, a Turk and two women, one wicked. A supreme opera! New musical. Smash hits and singers who give their all.

 

"10 voir + pour les vocalises superb de Jane Garratt. Si vous craignez l'opèra contemporain, prenez le temps de dècouvrir "Out Of The Horse's Mouth"; grandoise. C'est magnifique. … C'est du pur bonheur vocal. Maesttra Jane Garrat, great thanks for your lyric presentation, it so beautiful!"

10+ for the superb singing exercises of Jane Garratt. If you fear the contemporary opera, take the time to discover the imposing 'Out of The Horse's Mouth'; it's superb! Pure vocal happiness. Maestra Jane Garratt, thankyou for your lyrical service, it's so beautiful!

 

"Me encantó escuchar el álbum, realmente fué un buen rato."

I am enchanted by this album, really deserving of a good rating.

 

 

 

 

Comments from previous members of cast

 

A note from Natasha Day (who starred as Betsy Cohen in the second London production)

Quote me on any of this you like: I have never come across a work like 'Turkish Delight' before. It incorporates elements of tragic opera and juxtaposes them against a modern, and often comical libretto, along with music that would not feel uncomfortable in any of our West End theatres. Vocally, there are very few pieces out there that will match its challenging nature, and one can't help but die with the character of Betsy Cohen every night. Giles Howe's talent is represented by the creation of a work that is both so absurd, and shocking, yet intensely moving for both performer and audience. 

 

A note from Magoria (The Gold-selling recording artist who played Betsy Cohen in the Third London Production)

The first time I heard Turkish Delight, it really echoed in my heart. Well the thing is, to be honest, I appreciate its excited eccentricity; a timeless yet contemporary mixture of commedia dell'arte, well-written musical theatre, and dramatic opera; all blended into a potent witches' brew. Written by two very talented composers whose opposing styles of writing combine to      compliment each other perfectly, they create something unique unto itself. When I was a child, I remember when a particular cabaret troupe came to Stockholm, their performance made a lasting impression on me and has       followed me throughout my work. Hearing Turkish Delight, I was reminded of this childhood experience, at the same time the experience was developed by being in a new setting and environment, and it made me feel uplifted          nostalgically. I totally relate to this art-form, and the characters mirror the hidden corners of the closets of all our psyches! Get ready to confront yourself.  And enjoy the show!!

 

A note from Jessica Negus (who starred in the first ever workshop production)

You know I love Turkish Delight! The unusual theme made it fun to do and it was a great sing! A real challenge. I think it has some stonking songs in it and everyone who came to see it was dead impressed. They all thought (both performing types and others) that it could be transferred to a proper theatre really well under the right direction. How exciting you have this interest. I think the show could be AMAZING. Good luck!

 

A note from Gareth Bretherton (who starred in both productions so far as the British Man)

Firstly, the concept of the show is genius: the plot, writing, and abstraction of the piece could bring a new cabaret/musical/operatic initiative to audiences from all ages and backgrounds from around the world. With some help from an experienced director and producer who can also see the "off the wall" potential of the show and more of a glimpse into the crazy and tragic lives of the characters, this show could create a cult of its own.

A note from Jane Garratt (who starred in the first ever workshop production, the vocalist for whom the role of Betsy Cohen was originally written)

Turkish Delight is an independent, imaginative and creative production from a hard working director. An altogether inspirational project, its unusual story line takes you on a unique journey. It was an enjoyable experience, especially the tragi-comedy aspect of creating the lead rôle. Giles Howe and Katy Lipson's Turkish Delight is an extraordinary piece of theatre, its characterisation gloriously over the top: we have not seen such divas since Joan Collins as Alexis in 'Dynasty'! Its plot is original yet highly accessible in its talkshow-esque drama, whilst its musical score is suitably overflowing with the drama of opera; all is drawn together to create a great post modern piece of theatre.

 

A note from Sophie Jugé (who starred in the second London production)

I played the British Woman in Turkish Delight in Camden. It was the most challenging and rewarding singing rôle that I have ever undertaken. It was great to a play a character incorporating so many different vocal styles from Disney-esque melodies to Operatic Arias right through to Rock! They all fitted so well together in the one show to portray the story line and emotion. There is something for everyone in this show - comedy, romance, tragedy, horror and a few theatrical jokes for those serious theatre goers. When I first heard the material, I couldn't believe how young the composers were - they have a great future ahead of them in music. I look forward to hopefully working with them again in the future as it was such a pleasure. Best regards!

 

 

 

Orden hittar jag först nu ,senare... Ett ord kom till mig "Otroligt!". Otroligt så som i stort och vidunderligt. Som i svindlande höjder inför det djupaste hav. Som en sommaräng sedd ifrån luften från ovan. Jag satt med munnen öppen under nästan hela föreställningen. trots att jag sa till mig själv att jag såg urdum ut, gled käken ned. Nu vet jag vad "Tappa hakan" har för innebörd. För det var vad jag gjorde. Tappade hakan när jag sveptes in i en värld, jag aldrig förut satt min fot i. Och drogs in i en berättelse där jag satt på helspänn rakt igenom!

- Anonymous

 

 

 

"An operetta is simply a small and gay opera'

- Gustav Mahler

 

"Opera is when a guy gets stabbed in the back, and instead of dying, he sings."

- Robert Burns

 

"I've never had any feeling of disconnection between the classical theatre, or the contemporary theatre, or musical theatre, or the thing that we call opera"

- Trevor Nunn

 

"Opera, next to gothic architecture, is one of the strangest inventions of Western man. It could not have been foreseen by any logical   process."

- Kenneth Clark

 

"To me, the appeal of opera lies in the fact that am myriad of singers and instruments, each possessing different qualities of voice and sound, against the backdrop of a grand stage and beautiful costumes, come together in one complete and impressive drama"

- Junichiro Koizumi

 

"Opera happens because a large number of things amazingly fail to go wrong."

- Terry Pratchett

 

"No good opera plot can be sensible… People do not sing when they are feeling sensible." - W.H. Auden

 

 "There are two sighs of relief every night in the life of an opera manager. The first is when the curtain goes up. The second sigh of relief comes when the final curtain goes down without any disaster, and one realises, gratefully, that the miracle has happened again"

- Rudolph Bing

 

"An opera begins long before the curtain comes up and ends long after it has come down; it starts in my imagination, it becomes my life, and it stays part of my life long after I leave the opera house."

- Maria Callas