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| Alira Prideaux (Valencienne) and the Grisettes of Maxims |
Music by
Franz Lehar – Libretto by Victor Leon and Leo Stern.
Directed by
Ylaria Rogers. Musical Direction by Louis Sharpe
Scenery
designed by Eryn Marshall – Costumes designed by Helen Wotjas.
Lighting
designed by Jennifer Wright.
National
Opera. At the Q, Queanbeyan Performing Arts Centre until August 25.
Performance
on August 23rd reviewed by BILL STEPHENS.
National
Opera does itself no favours by over-egging its publicity with hyperbole, and
making lofty claims of producing
professional grade performances. Despite its best intentions, and based on
this production, it still has a long way to go before it can fulfil that promise.
It was obvious
that a lot of time and effort has been expended on this ambitious production,
and no doubt the loss of its leading man at the last minute would have been
demoralising, however raising unrealistic expectations can be risky if those
expectations are not met.
While not wanting
to discourage anyone from seeing this production, because any opportunity to
hear Franz Lehar’s glorious score performed live is welcome, and in this case an
attractive new arrangement of this score by Melvin Tay was very well played by the National Opera
Chamber Orchestra under the direction of Louis Sharpe, and attractively sung by
the large chorus.
However those
wanting to follow the story might have difficulty with Ylaria Rogers’
idiosyncratic direction which treats the script like a panto with curious
casting and shameless overacting encouraged.
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| Sarah Darnley-Stuart (Hanna Glawari) and party guests during "Vilia" in The Merry Widow. |
Of the
principals, Sarah Darnley Stuart as the widow Hanna Glawari gave a stylish
performance, investing her role with a confident dignity and command, so
lacking elsewhere. Her rendition of Vilia
in the second act provided the highpoint of the show. A pity then that her
first act entrance, which should have been another highpoint, was so poorly
staged.
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| Alira Prideaux (Valencienne) - Damian Arnold (Camille de Rosillon) in The Merry Widow. |
As the
illicit lovers Valencienne and Camille de Rosillon, Alira Prideaux and Damian
Arnold were well cast; offering stylish well sung and acted performances.
However both had costume problems which detracted from their performances; Prideaux
distracted by constantly tripping over her first act costume, and Arnold by
chasing cheap laughs with his tacky costume interpolation when discovered in
the gazebo.
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| Sarah Darnley-Stuart (Hanna Glawari) - Wally Allington (Count Danilo Danilovitsch) in The Merry Widow |
Bravely stepping
into the role of Count Danilo Danilovitsch at short notice, replacing an
injured Sitivani Talei, Wally Allington performed with aplomb and managed his
arias well. Hopefully, first night over, he will work on developing some
chemistry with his leading lady.
Eryn
Marshall’s drapery setting was an imaginative solution to a no doubt limiting
budget. It looked particularly lovely in the second act, but elsewhere gave
little indication as to location. Although in the final act the energetic team
of can-can dancers left no doubt it could only be Maxims.
Similarly,
Helen Wojtas did wonders in providing sparkle and glamour with her costumes. A
shame that more attention wasn’t paid to the men’s costumes which generally
looked scrappy.
“The Merry
Widow” is a demanding work which can be everything the publicity promised.
Unfortunately this production isn’t.
Photos by Peter Hislop
This review first published in the digital edition of CITY NEWS on 24.08.2024.
