Orpheus in the Underworld

As I took my seat on this very warm evening, amidst a sizeable audience for this second performance of what was described aptly in the programme as, ‘A musical romp through Greek mythology,” I observed not only the simplicity of the set on the stage, which had been suitably extended to accommodate the size of the full cast, but also the large number of people in the audience, who filled every seat in the uncomfortably warm hall ; indicative of the high level of interest in the performance of this classic from the local community.

The overture, commenced the entertainment, featuring some of the most beautiful music of this operetta, played by the modest group of talented musicians who were positioned in front of the stage. Whilst this may have been slightly obtrusive for some viewers, who had to look over the ensemble to watch the performance, it was an unavoidable arrangement. Under the baton of Musical Director, Peter Smith, the audience was treated to a free-flowing rendition of Offenbach’s exuberant music, full of life and rhythmic vitality, eliciting excellent vocal performances from members of the entire cast that was well balanced with the sound from the small orchestra.

The demands of “Orpheus,” cannot doubted; it entails so many elements to make it work but the director, Julian Souter, put all that together in splendid fashion and ensured an action packed, spirited performance from each of the 15 members of cast who had individual roles, including Julian himself. This was a strong cast, all of whom can act capably, in addition to singing to the highest standard. On the vocal front, soprano, Lydia Goodall who played Eurydice, and the light baritone, Adrian Peakman who played Pluto, were particularly memorable. The quality of singers in this company enabled appropriate casting of these well-established roles.

The lighting was appropriate for the staging with intermittent red flashes of light arranged below the stage intended to represent fire. Whilst this arrangement was fitting for some scenes, later use of intermittent colourful illuminations seemingly to travel under the stage, was distracting.

Credit to Sandra Morris for creating the costumes. Her hard work and creativity are worthy of credit, for they were handmade and suitably designed when cast members were required to appear drab or decorative.

The opening scenes set the tone as Eurydice exchanged insults with her husband, Orpheus, playing the composer and violinist of the same title. This role was played by Stephen Harper, who gave a polished performance. Eurydice was carrying out an affair with a shepherd by the name of Aristaeus, performed by Adrian Peakman, who later transformed himself into the god Pluto, to abduct Eurydice and take her to Hades, his underworld home. Adrian was magnificent in this part, adopting facial expressions and body language that portrayed manipulative and alluring traits. He insisted that Eurydice texted her husband to explain her disappearance. Orpheus was delighted and Calliope (Janette Clough), who disapproved of her son’s marriage insisted they flew to Mount Olympus to complain to Jupiter (Julian Souter), about the turn of events. The second scene was set on Mount Olympus, where the gods and goddesses (attired in white and purple robes) were asleep and bored. Jupiter had been observing the late arrival of his children, noticing one daughter, Diana (Jane Souter) missing. She had been out looking for Actaeon, the hunter but Jupiter had changed him into a stag. She was upset and accused Jupiter of double standards. His daughters also included the beautiful and beguiling Cupid (Christina Clifton); Venus ( Sheila Smith) and his wife Juno, (well characterised by Vi Hurdley) agreed too, that they suspected Jupiter had been up to his old tricks. Mercury (Mick Branighan) brought news of Pluto’s and Eurydice’s affair and Jupiter summoned Pluto to Olympus. Meanwhile gods and goddesses led by Mars (Gary Gentle) had had enough of Jupiter’s double standards, much to Pluto’s amusement. In Act 2 Calliope and Orpheus made their complaint and Jupiter insisted Pluto gave back Eurydice to her husband Orpheus. Jupiter planned to go down to Hades and agreed to take everyone with him. Act 3 took place in Hades where Eurydice was sad and felt abandoned; her only company being Styx, a former king who worshipped Eurydice. Styx was characterised by experienced compelling performer, Mac Hammond who delivered this role resplendently. Pluto returned followed by Jupiter. Disguised as a fly, Jupiter bewitched Eurydice before revealing his identity as the king of Gods.

Julian Souter should be congratulated on his commitment to this challenging role alone, for he was suitably secure, righteous, and commanding in character, adopting rich tones in his singing. He was on stage for much of the time, but never a moment defaulted on lines. His gestures and bold facial expressions were wonderfully managed, and the power relationships were established and convincing with other characters.

As the story continued the scene quickly focussed to one of Pluto’s gloomy vaults in  Hades where everyone was in carnival mood and saluting Bacchus (Martin Cartwright), the God of Wine, who Eurydice seemed drawn to, much to Jupiter’s annoyance. The celebration continued and the finale was heralded by the upbeat tune of the Can-Can, where the cast were joyously shaking and rustling handheld tassled props , moving rhythmically using small steps and encouraging audience participation with clapping of hands.

Other characters, worthy of mention in this production include Steve Robotham as Vulcan; and Icarus who was actively played by Grey Instone.

The entire evening was a vocal treat, the choral singing was superb throughout.

Worthy of mention is Lydia Goodall who was radiant as Eurydice, with striking vocal beauty and secure technique. She appeared so natural. Likewise, Adrian Peakman produced an equally impressive singing performance. All in all, Tettenhall Operatic Company presented over two hours of engaging entertainment where both the dramatic and vocal points were well executed, where everyone, including the chorus played their part superbly.

 

 

 

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