DIE FLEDERMAUS

RUG Opera at the Palace Westcliff
26.11.08


How many times has the lovely Palace at Westcliff seen Strauss's fun-filled Fledermaus on its steeply raked stage?

This week, with RUG's determinedly decadent production, could have been the first time the Veuve Cliquot dripped onto the woodwind in the pit, the first time a well-oiled Muscle Mary poured the drinks and moved the chairs, the first time the Can Can provided the floor show.

Musically, the standard was very high. Alison McFadyen kept things moving, the orchestral players embraced the Strauss style, and the singers - principals and party guests [no mere chorus here] - were splendid.

Paul Tarrant - a dead ringer for David Cameron, I thought - was the hapless Eisenstein, with Fiona Whittaker in excellent voice as his wife Rosalinda. Alfred, the opera singer, was Kevin Smith, with his snatches from the repertoire, and there was great character work from David Phillips as a very Teutonic prison governor. His side-kick, Frosch, was played by Shane Collins. Normally a non-singing role, it was embellished here by a moment from Rose Marie - when did that last play the Palace, I wonder.

Adele, dream role, was beautifully played by Jenny Haxell, who even attempted to sing in mummerset.
The youthful dance troupe were very impressive, but generally the pace was less than lively, and the scene changes were obviously hard work.

Nonetheless, an exellent evening out, with a real sense of occasion. As always, RUG was raising money for charity: this time Fair Havens Hospice and The Lennox Children's Cancer Fund.

MUSIC AND DANCE FROM RAJASTHAN

GDS Promotions at the Civic

23.11.08

Snow in the morning, but by the evening we were transported to the colourful desert of western Rajasthan. Seven turbanned musicians and a spectacularly dressed dancer performed traditional folk music to a large and appreciative audience.

Their repertoire is to be heard at festivals and feasts, and their songs are often based on poetry from the great Sufi tradition – a text by Bulesha began part two.

Instruments included the dholak, a two-headed drum, and the khartal, two pieces of wood used like castanets, which were played with superb style, almost a ballet of its own, especially in the fourth piece, written with 7 beats in the bar.

The bowed kamaicha, including some metal strings, produced some fascinating effects.

Khatu, the Kalbelia Dancer, bejewelled and lightly veiled, performed the Black Snake, accompanied appropriately by the traditional charmer's flute, the pungi, and incorporating some impressively supple tricks and some vertiginous whirling, as also in a lively song of longing, loss and lemons in the second half.

An intriguing glimpse into an ancient tradition, and very accessible to everyone. But I did sometimes wish I could understand the words of these wonderful songs ...

Jim Hutchon was at Little Baddow ...

Map of the Heart

Little Baddow Players

21^st November

 

This great sprawling play spans raw emotions and whole continents. On the eve of his departure for a mercy mission in the Sudan , middle-aged doctor Albie tells his wife he is leaving her for another woman.

 

The unlikely Lothario was John Peregrine – at his best when subsequently taken hostage in the Sudan . His wife, strongly understated by Lindsay Lloyd is left in the ensuing months to preside over the slow, quiet fracturing of her home and her heart. The mistress, a matter-of-fact Vicky Tropman, is the aid worker unable to reconcile her marriage-wrecking with her humanist ideals.

 

Sarah Trippett-Jones played a blinder as the huffy teenage daughter with attitude and Philip Gaudin was urbane and civilised as the shadowy, damaged house guest keen to keep things fuzzy. Michael Gray was the strong, silent ex-lover whose two key speeches were each seven words long – but delivered with energy and commendable brevity.  Paul Randall was irritatingly good as the smug Foreign Office negotiator who secured an arms-for-hostage release.

 

The play never lapsed into sentimentality, and striking scenes of a church and a prison cell contrasted well with the middle-class main set. Nice to see Ken Rolf back in the director’s chair, and in such cracking form.

 

Jim Hutchon

 

Jim Hutchon went to the Cramphorn ...

Noah the Musical 

Springers 

20^th Nov

 

Susan Corina’s production of this short, snappy musical was done with verve and great energy with a cast that really believed in itself. The opening scenes were played in front of a giant backdrop of the Bible – a clever device to have the story spring from its pages – which was drawn back to unveil the big boat to climax the first act.

 

Key participants were a genial old Noah played by Pete Spilling, whose voice occasionally struggled against Ian Myer’s boisterous band, and an excellent, tuneful performance from Catherine Gregory as Mrs Noah. Barry Miles as Baasha the scornful senior elder was strong, and Deborah Anderson, as always, gave good value for money as Stella, the ‘Deus ex machina’ – a cross between God’s messenger and the narrator who kept the pace moving along.

 

I felt the use of modern dress was a mistake – flowing robes would have been nice - , and the storm scene could have been more visually dramatic. But all in all, this was a happy, joyous production which sent the audience out humming the dimensions of the Ark and with which Springers can be justly pleased.

 

Jim Hutchon

 

THE ELIXIR OF LOVE

Swansea City Opera at the Civic

16.11.08

Set in North Wales, in the 20s, this version of L'Elisir d'Amore was very easy on the eye and the ear.

Gary McCann's miniature Portmeirion – dolls houses that turned into chairs and tables – was delightful, especially when the windows lit up in Act Two.

And a strong cast brought the merry music to life, helped by Fraser Goulding's frisky orchestral accompaniment, conducted in Chelmsford by Aris Nadirian. The various duets, trios and quartets sparkled along, though a little more stage direction would have added visual interest to the score.

Rebecca Ivey was a splendid Angharad – posh in pearls, comfortable in her physicality, fondling her suitor's broom. And her rich soprano was a constant joy, blending well with the lyric tenor of Gareth Huw John as her foolish admirer. His “Unwilling tear” was impeccably phrased.

Robert Davies was the Sergeant – memorably singing away whilst acting as a cushion – and Brendan Wheatley relished the role of the fast-talking quack whose elixir lubricates the plot.

Though in the end of course it's wealth, not wine, that attracts the girls. The three little flappers in the chorus were excellent in their “Secret” trio.

A witty, pretty Donizetti from this enterprising company; a worthy successor to their Daughter of the Regiment.