Jonathan Alver is the director of Brass Poppies, a new NZ opera by composer Ross Harris and librettist Vincent O’Sullivan. The opera promises a ‘fresh perspective’ on the First World War and will appear in the Auckland Arts Festival and the International Arts Festival, Wellington.

Jonathan has more than 25 years’ experience in theatrical, screen and major event production both in NZ and overseas. He’s been the General Director of Opera NZ, has directed episodes of Shortland Street and Go Girls, and more recently was in charge of the creative direction of the ICC Cricket World Cup Opening Ceremony in Christchurch.

1. Jonathan, what is the story of Brass Poppies?

On a very basic level Brass Poppies tells the story of the Wellington Regiment and their leader William Malone as together they face the traumatic events around the battle for Chunuk Bair. However, this is not a narrative commemoration, rather a series of imagined snapshots, demonstrating how the soldiers, wives and lovers might have felt in this situation.

2. How does this story suit opera?

Opera was not created to teach us history. Instead, the exquisite conjunction of music, stage and voice brings characters to life, connecting us directly to the human condition, to the hearts of the personalities before us, allowing us to share their thoughts and feelings. In Brass Poppies, Ross and Vincent have reflected on one of the darkest days in New Zealand history, but in so doing they have put flesh on the dry bones of some of the real and imagined personalities involved, literally giving them a voice.

3. Are the characters based on real people?

Yes and no. William Malone was indeed the Colonel of the regiment, but Vincent has brought him to life, and put words in his mouth, through his imagination. Malone’s wife is also a named character in the opera. The other people on stage all represent ordinary New Zealanders, forced to face up to a series of events no one could have imagined.

4. The centenary of the First World War inspired a huge artistic response. Brass Poppies is billed as offering a fresh perspective. What is that perspective?

From the inside! We invite the audience of Brass Poppies to step inside the personal experiences of the characters on stage, not through the filter of sepia photographs, but in the full colour of everyday life. What would those that died in the battle tell us? Most importantly to never let a similar situation happen again.

5. What effect has the music of Brass Poppies had on your direction of the opera?

As an opera director you have to start with the music. The words tell a story, but the music heightens and details the emotions. Ross has found a musical style for Brass Poppies that suggests the period, with interesting choice of instrumentation, but is also contemporary allowing us to engage as we would with a movie. My job is to add the visuals to the soundtrack – simple!

1. How does one end up becoming Meow Meow and living a cabaret life?

One doesn't become, one simply IS. I'm more a force of nature than anything! Unstoppable!

2. When did you decide to create this show and what was the inspiration for Little Mermaid? 

The original Hans Christian Anderson tale (tail)  from 1837 is so fascinating and still  so resonant for a contemporary world - love and self sacrifice, choices and fate, seduction, siren songs, salvation, hard core reality and fantasy- what's not to love?

3. One of our favourite parts of cabaret is the costuming and the excuse cabaret gives to go all out! Could you please tell us about the costumes - who came up with the concepts, who designed them and how long did they take to create?

The brilliant Anna Cordingley is my designer - we had a huge amount of fun turning the traditional mermaid image on its head (sometimes literally)!  The costumes are sexy and shiny and quite punk and at times just completely hilarious . And yes there are fishnets. She comes up with lots of designs and then we play In Rehearsal and refine them to their miraculous best!

Then a team of artists put them together - it's a great process and the costumes are "dramaturged" as much as the text. They are full of meaning - poignant and funny.

4. You have a veritable mix-tape of songs in Little Mermaid - which are your favourite three to perform and why?

As if I could choose three! Most of the songs are original commissions for this piece that I have written with my frequent collaborators Iain Grandage and "Thomas M Lauderdale from Pink Martini, and for me by three amazing girlfriend sirens in their own rights - Megan Washington, Kate Miller-heidke and Amanda Palmer. I love them all. They are my very special friends and they written for my soul.

5. Once the audience leaves your show what's the one thing you would like them to remember?

Their dignity.