The Merry Widow

The Merry Widow
Operetta by Franz Lehar. English Book & Lyrics: Christopher Hassell. Opera Queensland. Opened 10 July, 2010, Conservatorium Theatre, South Bank, Brisbane. Director: Anna Sweeny. Conductor: Kellie Dickerson

Queensland’s new Merry Widow, Antoinette Halloran, is charming and delightful, sings gloriously, and looks like 20 million dollars (the sum she has just inherited plotwise), on her entrance, in Opera Queensland’s The Merry Widow, but Anna Sweeny’s production is like a glass of flat champagne, there’s no effervescence. Jason Barry-Smith sang well, but was miscast as the dashingly, dissolute Danilo. He’s a terrific character performer, but he’s no leading man. Geoffrey Harris (Baron), Sarah Crane (Valencienne) and Bradley Daley (Camille), turned in good performances, as did Virgilio Marino (Njegus). Sweeny’s pedestrian production, full of clunky group stagings circa 1950, was matched by Donn Byrnes lighting which would have been more at home on a TV game show. Even the second act male kick-line, “Women, Women, Women”, and its requisite encore, was ragged and labored, though it did draw thunderous applause. The Queensland Symphony Orchestra, under Kellie Dickerson, lacked the necessary sparkle the score requires, but the Opera Queensland Chorus was excellent. Is it worth seeing? Definitely, for Antoinette Halloran’s performance, as for the rest, I’d close my eyes and soak up Lehar’s immortal score. Operetta music doesn’t come better than this.
Peter Pinne
 

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