”'Madeline' is bigger than self.
Douglas McNicolDirector - Madeline Lee 2019
Multiple award winner, Douglas McNicol, best known as a dramatic baritone, having worked with all the major opera companies and orchestras in Australasia since 1981, first worked in theatre as a Stage Manager at the Scott Theatre.
Since one of his earliest theatrical experiences, in the audience as an infant at the premier season of Lionel Bart’s ‘Oliver’ – London’s West End, he has been obsessed with theatre, both managed and spontaneous.
Studying a drama major in Douglas’ Education degree at Flinders University included classes in performance, theatre studies, mime and movement. Tutors included Ted Caddick, Mem Fox, John Trinder and John Edmund. Observational study has continued while working with directors including Michael Beauchamp, Michael Blakemore, Tito Capobianco, Gale Edwards, Colin George, Elrik Hooper, Ian Judge, Jean-Pierre Mignon, Robyn Nevin and Simon Phillips.
His direction of State Opera’s 2017 Gianni Schicchi, in which he also sang the title role, proved to be an oasis in a desert of uncertainty as it was digested with rapturous satisfaction by audience and critic alike.
Douglas is particularly delighted to direct Madeline Lee, after being honoured to perform the role of ‘The Lieutenant’ in its premier season (Opera Australia 2004).
Douglas gives us a little further insight into his direction of Madeline Lee.
Visiting ‘Madeline Lee’ from a director’s perspective expands an inarticulate sensorial vocabulary through her variety of experiential dimensions.
As the Lieutenant ‘I made the team’ in a ‘boys own’ adventure, enjoying harmony, tone and rhythmic melody inside the dissonance of individuals. United as fellows seeking liberty in war, camaraderie dissolved personality flaws and irritations. We touched our infant like egos which when marooned, enveloped all and inflated to a size beyond the cosmos.
‘Madeline’, is bigger than self. From isolation of the soul, hope, terror, oppression, repression, guilt, resentment and finally, relief or resurrection, do we empathise with the traumatised? What, who and how do we forgive? Can we? Need we? Am I allowed to be?
Some may find satisfaction in the cerebral journey alone. The ensembles are as rich as any in opera yet approachable to all who allow themselves the possibility.
No lectures…just enquiry.
