The Only Way is Ancient Rome in this retelling of Rameau’s 1745 opera with Samuel Boden captivating in the title role

To the left: a tiled hot tub and mini colonnade. To the right: a show-home bar with felt-tip bright cupboard doors. Artificial grass fills the gaps. Welcome to Studio 3 at Olympus TV, home of Jupiter & Juno – reality television for those convinced The Only Way Is Ancient Rome. Or at least it was, until Juno storms off Love Island, leaving Jupiter without a co-star and the show’s producers with plummeting ratings.

That’s just the first few minutes of Rameau’s Platée in Louisa Muller’s new production for Garsington Opera. Rameau’s overture becomes the show’s title sequence (cue lurid graphics featuring posing deities, airbrushed clouds, gold horses). As played by the English Concert under conductor Paul Agnew, it’s a neat fit – Rameau’s fragmentary phrases crisp and taut, every bit the countdown to curtain-up.

In fact Muller’s conceit works like a fever dream through the first half, making near-miraculous sense of Rameau’s 1745 plot-within-a-plot. The raw materials are not for the faint-hearted. At its core, Jupiter is fed up with Juno’s jealousy, so a demi-god cooks up a plan that Jupiter should pretend to fall for the vain marsh-nymph Platée – a figure so obviously unsuitable (not least because she is cast as a high tenor) that Juno will be taught a lesson.

Samuel Boden dances in flamboyant dress as the rest of the cast looks down at him in Platée.
Captivating … Samuel Boden in Platée. Photograph: Julian Guidera

Turning this into a plan devised by a crew clad in athleisure-wear as the latest love-to-loathe-it reality TV gambit makes it much easier to swallow – for a while. Robert Murray and Henry Waddington are a delight to watch as seedy execs, elegantly dispatching Rameau’s ornamentation and finding a natural home for 18th-century French among the coffee cups and beanbags. The chorus is superb – diction chiselled, phrasing in high-definition – and they move with enviable ease. Yes, their lads’-night-out shrieking over a sheep-race (you had to be there) obliterated the orchestra, but the energy was irresistible.

The problem is the second half. The plot slows. Indeed, delay is the point: Jupiter (a gloriously stentorian sing’n’pose act from Ossian Huskinson) mustn’t actually marry Platée before Juno arrives. And at that point the physical comedy gets desperate: an inexplicable scramble to eat wedding cake; a chorus that keeps falling asleep in sync. Mireille Asselin’s lengthy turn as arch-entertainer La Folie was underpowered. I lost track of which plot-level we were in and gradually stopped caring.

At the centre of it all, mercifully, was a captivating performance by Samuel Boden. His Platée went from an also-ran in a swimwear contest (1950s swim cap, flippers, goggles), to a clown-style makeover for her “wedding”. Yet Boden’s singing was rarely cartoonish. His high register was beautiful – his rare lyrical moments achingly so – even while he flopped and tumbled on stage. The opera’s “happy ending” is heartbreaking – made as cruel here as it could be. Or is that just showbiz?

 

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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