Director David Gilmore talks upcoming new musical ‘Stiletto’: “History is always meant to come back”

Currently in previous at London’s Charing Cross Theatre, the show is heading to its world premiere next week, after a development process of almost 40 years. Guillermo Nazara chats with its head creative, to learn all the facts about this period piece exploring the remarkable lives of the castrati singers – and what’s made the cut into this final version.

How does it feel to be bringing this show finally to the stage?

This piece has been through many iterations. I was, in fact, involved when it all started. Producer Robert Stigwood had this project on the go 40 years ago, and he asked me to work with Matthew Wilder, the composer – which sadly didn’t materialize at the moment. There have been various other options that didn’t happen either. We even consider basing it on a novel, but the rights were eventually withdrew. But now, thanks to the Robert Stigwood organization, we’ve finally been able to bring it back, along with a new writer – which is so exciting.

What enticed you to tell the story of the castrati?

It’s a very interesting period of theatrical history. Primarily in Italy, about five thousand boys were castrated every year. Many of them would end up in church choirs, like the Vatican, but some others would step into the world of opera. And those who were truly remarkable became international superstars.

Like Farinelli…

Exactly! And various others too. They would tour Europe, all around the most important venues. They were paid very highly and have fans that would literally scream the moment the say them. They were the Michael Jacksons of their days. The last castrato lived long enough to be recorded on a very early wax recording. It’s a pretty ghastly sound, because he was very old when he did it – and the recording techniques would not register bellowing properly. But that’s how far in time it went – up until the 19th century! They are completely lost now. The nearest approximation that we have is a female mezzo-soprano.

What themes are you trying to explore through its narrative?

It speaks to lots of contemporary themes. A castrato was highly sexually priced by both gay men and women. Among other things, women couldn’t get pregnant from them. And men found them very attractive. There was ambivalence in their sexuality. There was also a sense of slavery by the Church too – because their voice was the only thing that they possessed, so there was a lack of personal freedom. In this narrative, there is also the character of a black woman – a child of slaves in Venice, who’s ostracized because of her race. Eventually, we have these two outsiders combating social problems that existed back in the day but still continue for some people today.

Would you say the piece serves as a comment on contemporary society?

Yes. As with many period pieces, it represents issues that were alive back in the day and are alive now. History repeats itself – it never goes away, it’s always meant to come back.

What has been the development process been like? Have you faced any creative challenges?

The construction of any piece of theatre (let alone, a musical) involves so many elements – there’s the storyline, character construction (which must be achieved through music and dialogue), a balance between chorus numbers, solos, duets… All of that is a great problem. You need to decide upon all of that – and what’s overstated and understated. But at the same time, we’ve had the issues of physical limitations and budget. There is as much as you can do in a small venue. If this was done at the Opera in Covent Garden, we’d have a choir of 60 and an orchestra of 100. We know what we’re trying to achieve with the material – and we need to find the way to shape it into the right form.

Are there any future plans for the show after its first run at the Charing Cross?

I’m hoping for the producers to take a keen heart, which I’m sure they will. It will be up to them to decided whatever to do next.

If you had to give me one single reason to come see Stiletto, which one would it be?

I think you will hear a fantastic score, with sensational songs in the service of a rather moving story.

Read our interview with the composer, Matthew Wilder, here!

Stiletto plays at London’s Charing Cross Theatre until 14 June. Tickets are available on the following link.

By Guillermo Nazara