Laura Karpman's opera "Balls" recently premiered at the Royal Festival Hall, transforming the infamous 1973 tennis match between Billie Jean King and Bobby Riggs into a kitschy, pacey spectacle. The work is an unapologetic, big-budget take on the real event, with Karpman's score expertly juggling moments of hope and shock into a rollercoaster ride of catchy tunes and Hollywood-style set pieces.
One of the most striking aspects of "Balls" is its use of archival footage and video clips from 1970s advertising to create an immersive atmosphere. Virtuosically delivered as a kind of slow rap, actress Emma Kennedy's narration brings the era's sexism-fueled language into sharp focus. The title itself – "The Battle of the Sexes" – serves as a triple entendre for the opera's themes of love, identity, and social hierarchy.
Karpman's score is undoubtedly one of the standout elements of the production. With its clever incorporation of Philip Glass-style minimalism and archive footage of suffragettes, the music is at once playful and profound. The orchestra behind Karpman, under Marin Alsop, brings a level of precision and flair that allows the score to soar.
The cast of "Balls" is equally impressive, with standout performances from Nikola Printz as King and Lotte Betts-Dean as her secretary and lover. As Riggs, Nicky Spence delivers a comedic tour-de-force, complete with falsetto passages and over-the-top antics.
Despite some minor issues with pacing and vocal mixing, "Balls" is an undeniably entertaining and engaging work of music theatre. It's a testament to Karpman's skill as a composer that she can balance such disparate elements into a cohesive, crowd-pleasing whole. As the opera hurtles towards its climax, one can't help but be swept up in its whirlwind energy – even if it doesn't always stray far from the realm of kitsch.
One of the most striking aspects of "Balls" is its use of archival footage and video clips from 1970s advertising to create an immersive atmosphere. Virtuosically delivered as a kind of slow rap, actress Emma Kennedy's narration brings the era's sexism-fueled language into sharp focus. The title itself – "The Battle of the Sexes" – serves as a triple entendre for the opera's themes of love, identity, and social hierarchy.
Karpman's score is undoubtedly one of the standout elements of the production. With its clever incorporation of Philip Glass-style minimalism and archive footage of suffragettes, the music is at once playful and profound. The orchestra behind Karpman, under Marin Alsop, brings a level of precision and flair that allows the score to soar.
The cast of "Balls" is equally impressive, with standout performances from Nikola Printz as King and Lotte Betts-Dean as her secretary and lover. As Riggs, Nicky Spence delivers a comedic tour-de-force, complete with falsetto passages and over-the-top antics.
Despite some minor issues with pacing and vocal mixing, "Balls" is an undeniably entertaining and engaging work of music theatre. It's a testament to Karpman's skill as a composer that she can balance such disparate elements into a cohesive, crowd-pleasing whole. As the opera hurtles towards its climax, one can't help but be swept up in its whirlwind energy – even if it doesn't always stray far from the realm of kitsch.
... sounds like a pretty wild ride but is it really a faithful adaptation or just a big-budget cash-grab? 
where's the depth, you know? and what's up with the use of archival footage and video clips from 70s ads? feels kinda exploitative 
... also, I'd love to see some more nuanced exploration of Billie Jean King's life beyond this one pivotal match. and don't even get me started on the score – Philip Glass-style minimalism sounds pretty overdone 
... still gonna check it out tho, curious to see how it all comes together 
! The way Laura Karpman weaves together the real-life story of Billie Jean King and Bobby Riggs with catchy tunes and Hollywood-style set pieces is just GENIUS 
. And can we talk about the archival footage? I mean, who knew 70s ads could be so... FABULOUS 
! And the cast? Wow, Nikola Printz as King gives me LIFE 
! Minor issues with pacing aside, "Balls" is a total treat for anyone who loves music theatre (or just good ol' fashioned entertainment). Bring on the sequels or revivals - I'm HERE. FOR. IT 
! I was a bit skeptical about an opera based on Billie Jean King vs Bobby Riggs, but Laura Karpman really knocked it out of the park (pun intended) with her score - it's like, totally catchy and fun without being too cheesy 
. The archival footage and video clips added this whole new layer of depth to the show, and Emma Kennedy's narration was 
! Only minor issues with pacing and vocal mixing, but overall it was an absolute blast 
. And I think that's what Karpman's done here – she's taken this iconic moment in history and turned it into something that's both entertaining and thought-provoking 
! the score is literally iconic - Philip Glass vibes for days 
. the cast is insane too - Nikola Printz as Billie Jean King was EVERYTHING 
. Still, I did enjoy the archival footage and video clips - it added a cool layer of authenticity 
. My only minor complaint is that some of the pacing could be tightened up, but overall I'd say "Balls" is an absolute riot and a testament to Karpman's skill as a composer 
i loved how the score was a mix of philip glass-style minimalism and playful vibes 
! overall, it was an entertaining and engaging show, even if it did get a bit kitschy 
. Like, what's up with the title? It's already a bit of an attention-grabber, but is that really intentional? And have you seen the cast list? Nikola Printz as King and Lotte Betts-Dean as her secretary... sounds like some classic propaganda vibes to me 
. Plus, the fact that it's based on this super-charged tennis match from 1973 just feels like a way for someone to cash in on a hot topic. I'm not saying it's bad or anything, but I'd be keeping an eye out for any hidden agendas 
.
!
. It's just a shallow cash-grab trying to make a quick buck off one of history's most iconic moments. The whole thing feels like a cheesy, over-the-top romp with more flashing lights and loud music than actual substance. I mean, who thought it was a good idea to turn a groundbreaking tennis match into a musical spectacle? 
And don't even get me started on the score - it's just a mess of catchy but forgettable tunes strung together with some half-baked attempts at profundity. The cast is fine, I guess, but even their performances can't elevate this mess to anything more than a mediocre entertainment. 
. But for real though, sometimes the pacing felt kinda rushed, like we were skipping through the story without getting a chance to really dig in 
The use of archival footage and 70s ads is definitely suspicious, but in a good way? Like they're trying to tell us something. And have you noticed how all the key figures are portrayed as either heroes or villains? It's like they're setting up some kind of narrative... 
I'm not saying it's a conspiracy or anything, but I do think there's more to this opera than meets the eye... 
. I mean, Billie Jean King's story is so inspiring! The way Laura Karpman wove together all these different elements was pure genius 
. It felt like I was transported back to the 70s. The score was catchy and fun, but also really deep - I loved how it tackled themes of love, identity, and social hierarchy 
. Some minor issues with pacing and vocal mixing, but overall, I'd definitely recommend checking this out 
Can you balance being playful and profound at the same time? For me, it feels like Karpman's trying too hard to be edgy. 
... just kidding, it's an ace serve for feminism 
! The score is