Rodolpho and Mimi in La Bohème, National Tour, 2024. Photo Jeff Busby
This is a lavish-looking La Boheme considering it is an
economical touring production.
It is possible to get lost in the snow and the magnificence of Paris in some stagings but this version makes sure it has a focus on the domestic poverty of its starving students and artists, even if the time seems to have been shifted from the nineteenth century to the 1970s.
This means Rodolpho (John Longmuir) is using a typewriter to grind out his play, the pages of which unfortunately have to be sacrificed to the stove in order to keep the freezing students warm. Then in comes Mimi, (Danita Weatherstone) the seamstress and lover of beautiful flowers, looking for a light for her candle and the love story takes off.
There’s a parallel love going between gruff artist Marcello (Andrew Williams) and the flamboyant Musetta (Cathy-Di Zhang) who is fond of flaunting her other relationships in his face.
(There’s dual casting with the other Mimi being Maia Andrews, Nick Kirkup Rodolpho, Sarah Prestwidge Musetta and Benjamin Del Borrello Marcello.)
Of course it all comes apart and poverty and tuberculosis take Mimi in a tightly observed and moving conclusion.
The whole thing is very well sung and acted right down to the cheerful children’s chorus at Cafe Momus and a small pit orchestra under conductor Simon Bruckard keeps the score warm, lively and, when needed, properly full of feeling.
Set and costumes by Isobel Hudson are atmospheric with particular use being made of two huge and dramatic drapes, augmented by Damien Cooper’s rich lighting.
And in case we don’t know the plot, surtitles keep those of us not fluent in Italian well and truly on track.
There might be grander and bigger Bohemes around, but this miniature one has soul.
