The Merry Widow

The Merry Widow was written in 1905 during the heyday of operetta and is one of the few titles from that age that are still produced in modern times. The reason is simple – Lehar’s ravishing score. It’s a classic of the genre and it’s the musical element that most excites in the new Graeme Murphy production which was commissioned by The Opera Conference.

Murphy, assisted by Janet Vernon, has dressed it up, given it a new coat of paint, and reset it in the Art Deco period which gives a marvellous visual opulence to the production. Michael Scott-Mitchell’s sets reek of the period with filigree panels of gold that sparkle and an exquisite second act cyclorama that pays homage to Monet’s water lilies, whilst Jennifer Irwin’s costumes salute Erte with their lavish style of soft flowing fabrics. They (Murphy and Vernon) have also added dancers to the mix which helps liven the piece; a frenetic waiter’s gallop, a can-can pastiche, and an inventive male high-kick chorus for the second-act’s exalted ode to women.

But take away the window-dressing and what do we have? A creaky plot of romance between Hanna, the merry widow, and her former lover, the dissolute Danilo, but a plot that still captivates and charms.

The diminutive Natalie Christie Peluso was an appealing and vibrant Hanna opposite David Hobson’s licentious rake Danilo. Peluso wrung every drop of emotion from “Vilya,” whilst Hobson’s “Maxim’s” was alive with bon vivant swagger.

Acting honours went to Merry Widow veteran Jason Barry-Smith as Baron Mirko and Hugh Parker as Njegus, with the secondary lover’s story-strand, Valencienne and Camille played with vigour by Katie Stenzel and James Rodgers. Virgilio Marino (Raoul) and Shaun Brown (Viscount Nicolas) adroitly handled the buffoon comedy, with Cassandra Seidemann making her mark as a sultry Olga Kromov.

Justin Fleming’s translation erred on the side of clunky, but the orchestra was in fine form under Vanessa Scammell’s baton.

Peter Pinne  

Photographer: Stephanie Do Rozario