Cox & Box and Dido & Aeneas

On this occasion, Opera Worcester performed  a ‘double bill’ at the intimate Coach House Theatre Malvern; in the first instance Cox and Box, and followed then with Dido and Aeneas.

Cox and Box, or The Long- Lost Brothers, is a one act comic opera with music by Arthur Sullivan, based on the 1847 farce Box and Cox by John Maddison Morton. It was Sullivan’s first successful comic opera and five years before his first opera with W.S. Gilbert. The story concerns a landlord , Sergeant Bouncer, who lets a room to two lodgers, Mr Box who works at night and Mr Cox who works during the day.

When one of them has a day off, they meet each other in the room and tempers flare. Cox is engaged to the widow Penelope Ann Wiggins - They discover that they share more than the same bed. News arrives that she has been lost at sea and has left her fortune to her ‘intended’. They both try to claim her for themselves and then they learn that she has been found and so both then try to disclaim her! Next, they learn that she has actually married another, and relieved they swear eternal friendship and discover that they are actually long-lost brothers!

Given the relatively small playing space, there was an imaginative set depicting two levels, a fireplace for heating and cooking, a bed, window, central table and hat stand. Bouncer, a lodging house keeper and military man (Paul Thompson), Mr Cox, a journeyman hatter (Ian Walton) and Mr Box, a journeyman printer ( Mike Faulkner) all oozed experience calling on their natural expertise in every way, in stage presence, working together and especially in song and humour. I particularly enjoyed Bouncer’s ‘Rataplan’ and Box’s ‘ A Lullaby’ and the scene when Cox and Box were cooking their own breakfasts at the same time, unknown to each other. It is rumoured that this might be the last occasion when the three stage this opera together, having staged it many times over the years, so I was particularly glad to have seen it.

Turning to Dido and Aeneas, this was one of Purcell’s foremost theatrical work and his only true Baroque opera. It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas and her despair when he abandons her. It remains a poignant exploration of destiny, sacrifice and destructive forces of the Gods. Set over three short Acts, the action centres around five main characters; Belinda (Shara Parry), Dido (Catherine Barrett), First lady (Caroline Causier), Aeneas (Ed Kimberley) and Sorceress (Susan Black) who all equipped themselves well.  Also giving good support were Meriel Ford (First Witch), Sophie Hutton (Second Witch), Samuel Taunton (Sailor) and Zero Butler (Spirit),  in addition to an ensemble of up to 14, including several of the above doubling up.

The set again was simple on two levels, allowing space for the cast who were all very well dressed. In the final scene Dido has been informed of her lover’s planned departure, to fulfil an apparent duty and dismisses Belinda’s attempts to calm her. Dido confronts Aeneas over the unforgivable betrayal of their love. Though he vows to stay, she orders him away. Knowing she must die at his leaving, she asks that she be remembered well. This atmospheric scene was well handled and I understand why it was not possible unfortunately, for the full cast to take a bow in the finale.

Joy Reeve provided great accompaniment throughout the evening for both operas.

Opera Worcester have once again added to the diversity of what we can expect within the NODA family, of which they should all be proud.

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