London Coliseum, Thursday 14 March 2019

There is nothing routine about this third revival of Simon McBurney’s approach to The Magic Flute. Not only does the production work as smoothly as ever, no small thing in itself given the complexity of the stage movement and video design, but the cast is fresh and appealing.

One of the benefits of a large cast is that it can bring on younger singers and ENO makes this into a real strength.

Tenor Rupert Charlesworth is a charming Tamino. He has a gaucheness in his manner which speaks of his youth and lack of experience, but also his genuine willingness to learn. His voice copes admirably with the long lines while his diction impresses. Lucy Crowe’s Pamina may be more familiar but is none the less making a welcome return to a part which she inhabits both vocally and physically.

Julia Bauer made her house debut as the Queen of the Night but it is a role she has sung frequently before as was obvious from the confidence with which she threw off Mozart’s coloratura. Brindley Sherratt’s Sarastro is new to this production though he has sung the role in an earlier version. He brings weight and authority to the part but also a genuine warmth and, at times, humour.

Thomas Oliemans returns as Papageno and is entirely at ease within the occasional eccentricities of the production, to say nothing of the obligatory set of steps he carries around.

The many silent actors are always aptly used, particularly the magnificent birds, and move alongside the chorus with commendable ease.

The pit is once again raised, which I think improves the acoustic, as well as allowing easy movement between the orchestra and the stage. Conductor Ben Gernon, making his house debut, lifted the score with commendable ease and fluency. He is certainly one to watch.

Sitting alongside the new Merry Widow the season at present seems to be running very well.

Hazlitt Theatre Maidstone and touring

Musically, for me, the success (or not) of any production of The Pirates of Penzance hangs on “Hail Poetry”. It’s a wonderful moment when everything stops, the cast becomes a choir and Sullivan indulges himself in a splendid four line anthem (complete with exasperatedly daft Gilbertian words – you can almost hear WSG’s irritation) in homage to Mendelssohn. And in the hands of Merry Opera Company under their MD Gabriel Chernick it rings out magnificently – every member of the cast of 14 singing with warm commitment. I could have done without the distracting stage business, though. It takes less than a minute and I think there’s a strong argument for letting the audience listen to it properly in all its loveliness.

Merry Opera is a Kent-based bijoux company which tours scaled down versions of operas and semi-dramatised, immersive versions of works such as Messiah and Verdi’s Requiem. It works with fine young singers and almost always delivers the goods. And The Pirates of Penzance, their first foray into Gilbert and Sullivan, is no exception. Every single person on stage is a talented singer.

It’s the quality of the music which really makes this production work. Gabriel Chernick, on keyboard, has arranged the score very imaginatively for a trio with Eloise Macdonald on violin and Georgina van Hien playing wind and brass – sitting downstage right where they almost become part of the action. I really love the way he has woven in continuos and sympathetic counter melodies. I’m sure Sir Arthur would have approved. And it supports the singing immaculately.

Mimi Doulton, as Mabel for instance is a fine coloratura soprano hitting every one of those absurdly high notes with sparky panache as she smiles through the music at her Frederic, an excellent tenor, although I wish he hadn’t been directed to use that  gratingly strangled heightened RP voice in the dialogue. It isn’t funny.  Samuel Pantcheff sings the Pirate King (bass) with lots of arresting richness, Phil Wilcox is a skilled and very nimble Major General – the presto encore in his famous number is good fun – and Matthew Quirk is a delightful, rubber kneed, gor-blimey Sergeant of Police.

On the music front then, this is a good production. Dramatically, however, I found it tiresomely fussy. Of course G&S cries out to be camped up and some of it is so absurd that only witty over acting makes it work but director John Ramster over-eggs it here.  There is no need for the Pirates to keep making stereotypical “piratical” noises like something out of a strip cartoon, for example. And, for me, the “duty” joke (whenever the word is mentioned, attention is drawn to it – I’ll spare you the spoilers) wears thin after half an hour or so. It all gives the impression of trying just a bit too hard. The material is very strong and there’s a case for allowing it to work its magic without quite so much embellishment.

Susan Elkin

London Coliseum, Friday 1 March 2019

No-one could surely doubt that The Merry Widow is a masterpiece but in recent years I can’t recall a production which did it justice. At last, we have one. In one way this is a refreshingly old-fashioned approach. Solid naturalistic sets, sensitively lit to reflect the shifting emotions, and costumed in a way which is securely Edwardian even if it drifts comfortably out of period when it needs to. But the other side is a master-stroke. The new book and lyrics by April De Angelis and Richard Thomas are the best we have heard for many years and surely on a par with Ira Gershwin and Cole Porter. There are so many felicitous lines, and ones that spin so easily with the music that this should become the accepted version for many years to come. The jokes come thick and fast but are always within the context of the action and any apparent reflections on Brexit are quickly picked up by the willing audience.

The work is cast from strength with Sarah Tynan a riveting Hanna Glawari. This is no genteel aristocrat but a woman who has seen difficult days and worked her way up. For once, her ability to dance as well as the Grisettes seems quite feasible, and her rendition of Vilja perched high above on a crescent moon was a moment worthy of Busby Berkeley. Her relationship with Nathan Gunn’s Danilo is also more complex. There seems to be a strong back story here and I can’t recall before being so aware of how close the relationship is to Beatrice and Benedick in Much Ado About Nothing. They care deeply but are never in a position to disclose it, even in the mixed social setting which Max Webster’s production creates. Not until they get to the point where money can be ignored can love begin to flourish.

The other romantic interest – Rhian Lois’ forceful Valencienne and Robert Murray’s Camille – are more obviously physical than usual and she takes the lead where he might hang back. Andrew Shore’s Zeta is the connecting link between the two couples and shines as ever with his comic timing as well as his credibility.

The dancers are nicely over the top and the Maxim’s scene hints towards Cabaret in a not unpleasing fashion. There is decadence here as well as potential debauchery. The ENO chorus provides many of the smaller roles and proves once again what a depth of talent is available. In the pit Kristiina Poska drives a sparkling account of the score which never drops for a second.

Though it has not happened recently, could a west-end transfer be in the offing? Audiences who flock to 42^nd Street would surely love this and I assume ENO would not begrudge the extra income?