Gloriana: A Film (review)

This is the second commercially available video of Britten’s Gloriana; the first is a 1984 performance by the English National Opera starring Sarah Walker as Queen Elizabeth (DVD; Arthaus Musik, 2006, [1984]; 102 097). The main difference between these two versions is that the former is specifically adapted for film and the latter is a staged version captured on film. Opera North performed and filmed this production for BBC Television in 1999, which was initially realized on stage. The award-winning director Phyllida Lloyd directed both the stage and film versions (David Benedict, “Breaking into the Boys Club: Distaff Directors Stake Claim on British Stages,” Variety 406, no. 8 [9–15 April 2007]: 32). What is interesting about this film is that all of the action takes place in a theater space despite the fact that it is not a stage production captured on film.

Lloyd essentially creates two distinct facets of Elizabeth’s life in this film. Elizabeth’s public life takes place on stage where she holds court, gives speeches, and fully displays her royal persona. Her private life takes place backstage where she seeks refuge from the public in her dressing room or confides in trusted counselors in the wings. With very few glitches, this creative use of theater space as a metaphor for public versus private life is consistent with the themes raised in the opera. As Patricia Howard states in her book, The Operas of Benjamin Britten (New York: Praeger, 1969), “The opera has a triple theme: it is about kingship—the relationship between a sovereign and her people; it also contains an intimate portrait of the public and private person of the Queen; and it is a portrayal—necessarily brief but very varied—of the age.” (p. 106)

The beginning of the opera may seem confusing as the overture plays to backstage scenes of stagehands and singers preparing for the curtain to rise. Viewers may initially think that this is just a setup for a stage production captured on film. However, when Mountjoy appears on stage wearing the Queen’s favor, careful attention paid to camera angles and lighting clearly demonstrate that this opera was adapted for film. The majority of the camera work effectively conveys the opera’s plot. The sets are box-like and simple in order to create a general sense of claustrophobia and lack of privacy. Costumes are very regal and convincing; the only exception is Sir Walter Raleigh’s wig and makeup, which does not appear very realistic under camera lighting.

Significant cuts are made to this production in order to make the opera fit within the time frame of the film. The majority of the Tournament (act 1, scene 1) is cut until the very end of the scene where Mountjoy enters with the Queen’s favor singing the words, “Boy! Bind upon my arm this my reward. I’ll wear it as a charm: no sooner said than done.” (Benjamin Britten and William Plomer, Gloriana [London: Boosey and Hawkes, 1981], 14). Some viewers who may not be familiar with Gloriana may be somewhat puzzled about why Essex and Mount-joy quarrel at the end of this scene.

None of the well-known masque pieces in act 2, scene 1 appear in the opera. There are conflicting opinions on whether or not these pieces are dramatically important. Stephen Walsh in his article, “A New Impression,” feels that although this part of the opera became famous, there is little development in the plot “with the exception of an aside or two about Essex’s discontent at the delay over his appointment as Lord Deputy of Ireland.” (Tempo new ser. no. 79 [Winter 1966–67]: 8). Eric Walter White in his book, Benjamin Britten: His Life and Operas (2d ed.; Berkeley: University of California Press, 1983) has a different opinion: “Even a...