Terry Gilliam promises 'Pythonic' new opera with fire eaters, trapeze artists and a cucumber phallus

A rarely-performed opera is to be put on the London stage for the first time in 40 years with a Monty Python twist, as Terry Gilliam puts on a show complete with circus performers, 40-ft statues and a prosthetic cucumber phallus.

Gilliam, the comedian, writer and animator, has directed a new production of Benvenuto Cellini for the English National Opera, featuring his trademark colourful backdrop and “anarchic” undertones.

Newly-released pictures from the opera’s dress rehearsal show an outlandish stage decorated as a fairground, overseen by a terrifying cartoon mouth and madcap circus performers.

Fire eaters, trapeze artists and a Pope will all take to the stage, along with nude, overweight man covered only by a pair of apples and a cucumber phallus.

Those who saw the rehearsals described show as distinctly “Gilliamesque”, with shades of colourful comedy bringing it to life.

Its first outing, in the 1830s, was met by riots among audience members who were shocked by its controversial scenes.

Speaking ahead of opening night, Gilliam has now said he hopes there would be some “Pythonic moments”, with the romance of the story mixing with outrage and humour.

^{Dress rehearsal of the Hector Berlioz opera "Benvenuto Cellini" at the London Coliseum (Bettina Strenske/ LNP)}

He added: “We’re trying to do a two dimensional world in a three dimensional space; it’s not unlike the cartoons I did with Monty Python. A kind of cut-out world is what we’re working on.

“I bring to the opera things I’ve done in the past. There are hopefully going to be some Pythonic moments, it’ll be funny.

“It’s trying to work out this balance to retain the romanticism, outrageousness, scoundrelness, and true artistry. An interesting mix.

“My attitude is that we’re putting on a show. I don’t analyse what I do, whether working in Python or animation or films or opera. I just do what seems to me to be truthful.”

Leah Hausman, the show's co-director, said the production was a "loveable beast", with ambitious staging and a huge cast of 80.

Cheerfully admitting the dress reheasal had been "a bit of a train crash" due to technical difficulties, she added Gilliam fans would be "very pleased" with the final "chaotic" production he had envisioned.

"It's a beast to stage," she said. "The chorus couldn't sing it when Berlioz first wrote it (in 1834). It was extremely controversial in all sorts of ways - there was a riot on the first night. It pushed the boundaries musically and it's still pushing boundaries."

It is the first time Berlioz’s opera has been staged in London for more than 40 years, and is Gilliam’s second production for the ENO.

He will team up again with ENO music director Edward Gardner, who also conducted Gilliam’s successful production of The Damnation of Faust in 2011.

Benvenuto Cellini was first staged in Paris the 1830s but has been considered difficult, with its early versions met with criticism for being so radical.

Gilliam is said to have embraced the idea of re-imagining it, in part because there has been little precedent set for how is should “traditionally” be performed in Britain.

Last week, he disclosed “everything that possibly could go wrong has gone wrong” in the run-up to the show as he approaches opening night on Thursday, June 5.

He has previously been compared to composer Berlioz, joking: “You mean that his stuff is over-the-top, halfway out of control and dangerous? Exactly right.”

^{Corinne Winters playing Teresa (Jane Hobson/ Rex)}

Describing the show, a spokesman for the ENO said: “Gilliam combines his trademark anarchic style with Berlioz’s epic score to tell the story of the notorious Italian goldsmith and sculptor Benvenuto Cellini, whose scandalous lifestyle rivalled that of Casanova.

“The production features spectacular scenes including a wild carnival with acrobats, a duel and the final forging of the bronze statue of Perseus for the Pope (played by the inimitable Sir Willard White).

“Cellini must finish the statue by the end of the day, or face execution. Can he save his own life, be reunited with his love and complete the statue in time?”

The part of Cellini will be played by American tenor Michael Spyres, while soprano Corinne Winters takes the role of his love interest Teresa.Sir Willard White takes on the pivotal role of Pope Clement VII.

Benvenuto Cellini opens at the London Coliseum on Thursday, June 5 at 7.30pm, with eight performances in total. It will also be broadcast live in cinemas as part of ENO Screen on Tuesday, June 17.