It's Still her Voice 

 

An adaptation by the company of Jen Cocteau's 1928 play and

Francis Poulenc's 1958 opera La Voix Humaine

THE FLYING NUN by BRAND X

March 4 -5, 2022

​

Producer & DIrector: Kate Gaul

Music Director: Antonio Fernandez

Performed by Karina Bailey (Soprano), Pollyanna Nowicki (Actor)

​

French Language Coach: Ammandine Elise

Surtitle Operator: Sarah Cherlin

Lighting Operator: Catherine Mai

Production Photography: Alex Vaughan

Production Videography: Syl Marie

​

Click here for the full archive: www.sirentheatreco.com

​

Its Still Her Voice collides both Francis Poulenc’s 1958 operatic adaptation of Jean Cocteau's 1928 one-act play of La Voix Humaine (The Human Voice) and the play itself.

​

Opera and drama.  A singer.  An actor.  A piano. The telephone.  It’s Still Her Voice takes these works to identify how our lives are mediated; from emotions in need of an audience to the role of technology in intimate relationships.

 

This is immersive theatre. A masterclass in human despair.  A portrait of loneliness and, indeed, madness and melancholy.   The edgy atmosphere takes on a frisson of horror when a woman’s lover rings to tell her of their marriage next day. We are helpless against the rising force of her emotions, and ultimately complicit in her disintegration. She checks her mobile for updates and texts. Her response to the chiming noises when she gets a call is Pavlovian in its desperation. We see her deleting old photos and checking her Instagram feed. And the telephone isn’t her only addiction.

 

When our relationships are as much enabled as they are limited by technology, breaking up is hard to do.

​

“Camp and hysterical, yes – but also painfully and intimately moving. We’ve all been there, haven’t we?” The Telegraph

​

"Siren Theatre Co’s production of “It’s Still Her Voice” perfectly illustrates that you don’t need an enormous budget, 100 lighting cues, complex set design and a giant space to achieve theatrical success. The heart of this production is its brilliant performances, provocative direction and musical excellence. This production deserves a second life, so that larger audiences have the opportunity to see it and basque in its fineness." Olivia Ruggierio, Theatre Travels

​