Passion

The music is exquisite: soaring, lyrical, uplifting and quite operatic. It is, after all, Stephen Sondheim. But the story is very European (it’s actually Italian) – which is a euphemism, in this case, for excessive and, at the same time, oblique. Unless you have experienced passion which transcends reason; which ignores caution; which embraces sacrifice and even death, it’s a hard ask for an audience to engage with the story. Most people have NOT embraced that passion, or have been told that such passion is a sickness and we should always put ourselves first and bargain our way through a love which is comfortable and allows us space. The majority are not brave enough to cross that line for the promised ecstasy such passion brings…and there’s the problem and possible reason why the show, despite its critical acclaim, has not found a large audience. It’s for a specialised audience that is prepared to embrace the possibilities of Passion itself.

Captain Giorgio Barchetti (Kane Alexander) is involved in an illicit affair with a married woman, Clara (Sylvie Paladino). When he is transferred to a remote military post, he encounters Fosca (Theresa Borg), a relative of the camp commander. A plain, neurotic woman whom love has bruised and discarded, she becomes obsessed with Giorgio, declares her love and manipulates him in many ways. Giorgio rejects her, returning time and time again to Clara. But he pities Fosca. Eventually, as Clara tries to set conditions on their affair, he realises that Fosca is content with the crumbs he throws her while Clara wants “Love” only on her own terms. In an amazing song – “No woman has ever loved me this way” he comes to understand that Fosca is the only person who truly understands the nature of unconditional love and that he loves her too. Her health is so weak, and yet they consummate their passion…which results in her death and his breakdown. Oh, and there’s a duel for good measure. You either believe it or you don’t, but it’s the stuff grand opera librettos are made of.

This production is sumptuous despite the short run. The mobile part sets by Rob Sowinski and Dave Bramble work a treat, the lighting design by Sowinski with Tom Warneke is quite beautiful and atmospheric, and the only niggle I have is the time it took in almost a DBO to strike and reset between scenes…though the entr’acte music was just as lyrical as the songs. Guy Simpson and the orchestra were superb on all levels.

You would go a long way to better the dream cast assembled here. Fine musical performers such as Jolyon James, Cameron Macdonald, Tod Strike, Glaston Toft and Troy Sussman (a director of this new company Life Like) play what are minor roles with great panache and style. John O’May is, as always, impressive as Dr Tambourri, but it’s not a singing role and that is both a pity and a loss. Mark Dickinson brings gravitas and his marvellous voice to the role of camp commander Colonel Ricci. But it is the three leads who are outstanding. Kane Alexander brings extreme masculinity to the role of Giorgio and understands the character journey from lust of the flesh to passion of the soul and love without conditions. He is quite marvellous in the final scene with Fosca. Theresa Borg (another founding member of the company) is astonishing in the way she makes us uncomfortably squirm for much of the performance with her plain and bitter appearance, only to appear to be growing more beautiful as she allows herself to love without expectation, and finally experiences being loved in return. It’s quite breath-taking. This is a very difficult mezzo role to sing and the intervals are complex, but her voice is amazing, especially in the lower register. Silvie Paladino (Clara) has graced our stages for so long that we take for granted what a truly spectacular leading lady she is. Her voice soars, she looks divine and she understands every nuance in lyric and gesture. I saw her two years ago perform “Not A Day Goes By” for Sondheim himself, and she reduced him to tears. What a magnificent performer she is on all levels.

Neil Gooding’s sensitive and sensual direction was a major factor in drawing the production together so beautifully.

Sondheim requires the audience to work, to engage, to connect. That’s why he is described as “intellectual”. This is not an “easy” show, and it will not be everyone’s cup of tea. But for those of us willing to embrace it….it’s Orange Pekoe or Lapsang Souchong. Enjoy it a sip at a time. It may be your only chance.

Coral Drouyn

Photographer: Ben Fon