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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Strauss conjures up a night of fun Die Fledermaus Great Witley Operatic Society Swan Theatre, Worcester ****
FORMER director of music at Worcester Cathedral, internationally known
as a conductor, appointed OBE in 1993 for services to British music –
Donald Hunt has a career packed with memories and a reputation built on
baton expertise. But the
first night of joyous Johann Strauss II music gave him what may well
prove to be his most surprising memory of all. The human mind is a
wonderful thing – which is why there was silence in the orchestra pit
when the prison guards should have been entering to a musical
accompaniment. It was a remarkable hiatus in an evening of fun, flair
and accomplishment. Let's face it, it could happen to anybody and it
didn't spoil the evening for anyone except possibly Donald Hunt, who was
otherwise his usual masterful self at the helm of his orchestra. The prison
scene dragged somewhat at times, but Roberta Morrell's colourful
production has lots of life and movement and a company containing
attractive voices. It even manages to bring in a reference to an
advertisement for a taxi firm: Stephen Byers – Private Hire. There is a
lovely moment involving Adele and a florid, wide-eyed gaoler. Indeed,
this is a show that is full of fun – which is usually the case and which
is why it is a shame that its name probably deters many people from
investigating it, because it sounds like one of those foreign opera
jobs.
Caroline
Causier (Adele) and Suzanne Millington (Rosalinda) steal the vocal
honours, although it is a bit of a surprise to see the sisters Rosalinda
and Ida (Anna Hainsworth) presenting their cheeks and greeting each
other in moi, moi style. Another slightly disconcerting moment is in the
ballroom scene, when five elegant ladies in their gorgeous gowns sit on
the floor – although in fairness it is hard to see how else they could
have been accommodated, given the considerations of space. Martin
Jones (Eisenstein), Colin Mills (Dr Falke) and Michael Powell (Alfred)
sing nobly. Prince Orlofsky is traditionally played by a woman – in this
case, Pam Mallaber, who is also in good voice – especially, perhaps,
with Chacun à son gout, but needs more projection in deploying it. There
are several examples of excellence in duets and trios, and the chorus
knows how to look happy while making a joyful noise. Paul Thompson, as prison governor Frank, has a pleasingly authoritative speaking voice and Andrew Boughton comes amusingly to Frosch, the drunken gaoler. To 27.3.10. John Slim |
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