(K. Brent Tomer),
“IF THERE’S no blood, there’s no entertainment,” shouts Netia Jones, as one of her Shakespearean characters catapults himself high into the air, and lands with a sickening thump on the rehearsal room floor. “Gosh—are you all right?” she asks anxiously. This young British opera director is known for being a martinet, demanding millisecond precision in co-ordination between sight and sound. But as the creator and leading exponent of a new theatrical art-form, she demands nothing less of herself.
Daughter of an organist father and an artist mother, Ms Jones was smitten by a production of Benjamin Britten’s “Peter Grimes” when she was ten; an internship at English National Opera reinforced that obsession. “I was always fascinated by the idea of a visual world and a musical world coming together to make something else,” she says.
Working on theatre projects after studying modern languages at Oxford, she was…Continue reading