Orpheus in the Underworld

The Show

It’s rarely a Noda review comments on the opening of a new show. This presentation of the much-loved Orpheus in the Underworld was the premiere of a re-write of the Offenbach comic opera, popular with amateur companies in the Parks & Hanmer version since the 1950’s. This new libretto by Nick Bacon and Adam Lawrence aimed to move the show on from the somewhat dated version and its 1950’s humour.

For the most part, it worked. Many characters, while broadly true to the Offenbach original, had new personalities, dressed in modern costume, but interacting as before. Their dialogue, and the songs’ lyrics, were refreshed. The modern comedic references, aimed at a 2025 audience, generally found their target (I loved “rather go camping in Wales” in Eurydice’s Act 3 I’m Sorry I Came lament!)

The challenge of updating a format for modern sensitivities walks a tightrope. While it can avoid offence, it can be thought patronising. On the whole, in this production, the former was achieved and the latter avoided. Equally, efforts to remove aspects of libretti which may today offend can risk the introduction of new elements that might now be thought inappropriate. Early runs of new-written theatrical ventures invariably undergo ‘tweaks’ to reflect feedback and the writers’ own observations after seeing their efforts in performance. With such fine-tuning, this Bacon & Lawrence version could become a new ‘Go-to Orpheus’ for amateur societies looking for something a bit different.

 

An amusing innovation possibly aimed mischievously at ‘turning the tables’ rather than correcting archaic stereotype was a trio in Act 3. Originally, in Cherchez La Femme five male Gods sang about women being the cause of the world’s problems. In the revision, to quote the programme note, this potentially sexist attitude is replaced by Watch Out For The Man, where three Goddesses catalogue the failings of men! Cherchez the irony?

 

The Production

Direction of this revised comic-opera was in the hands of the authors, they being best-placed to make their ideas work onstage. Settings were simple but attractive, portraying in the three acts the Pastoral, Olympian and Netherworld settings. The nightclub setting of Act 3 was appropriately seedy, with Eurydice’s cocktail-charged solitude providing a good opportunity for the actress to show her dramatic range.

Entrances and stage movements were controlled and generally slick, and while chorus action when not static was somewhat regimented, the interplay between Principals effectively portrayed individual characteristics and their relevance to the story.

 

The Music

Thankfully, Offenbach’s delightful music, with it’s satirical Gluck influences, which has carried this show since the mid-19th century, was virtually unchanged in this version, and attractively presented here under the musical direction and baton of experienced MD Janet Bacon. With such splendid tunes, any production of Orpheus is half-way to success already. Orchestrally and vocally Janet’s direction brought out the best in the musicians and singers. Stanley Opera is primarily an opera company, so some strong voices can be expected, and this was evident in several of the major characters here.

 

Choreography

Stanley Opera isn’t a dancing company, and this isn’t a dance-dominated production. But a notable, and noteworthy, exception is the Third Act’s Can-Can sequence, attractively, teasingly and entertainingly provided here by five dancers under the skilled direction of Dee Short.

 

The Cast

After an Arcadian opening chorus of shepherds farmhands and villagers in a variety of agricultural costume of indeterminate vintage, the story begins with married couple Eurydice and Orpheus  squabbling over her flirtations and his annoying violin-playing; while his mother Calliope insistently attempts to save the doomed marriage. Her efforts are thwarted by her daughter-in-law’s attraction to a shepherd, Aristaeus, who turns out to be an undercover Lord of the Underworld.

As the domineering Calliope, full credit must be given to Sebastian Carrington, who took the part at short notice, and performed it convincingly. In addition to his vocal and dramatic skills, Sebastian’s ability to perform an obviously feminine role with confidence was presumably a welcome fit with the ethos of the show’s re-write.

Chris Stocker, Orpheus, with strong tenor voice, looked and acted the part of downtrodden musician, dominated by wife and mother, while Vicky Shirtliff was a delightfully comedic Eurydice, singing beautifully and acting convincingly whether as disappointed wife on Earth, or ignored lover in Hades.

Regular Stanley Operagoers will be familiar with Chris Marlow’s fine baritone voice. While comic opera is not his most frequently performed stage genre, Chris showed his dramatic and vocal skills in an appropriately sleazy performance as Pluto, Lord of the Underworld and Serial Abductor.

When Orpheus arrives on Mount Olympus, where he’s dragged by Calliope, courtesy of balloon pilot Icarus jauntily played by Charley Alsop, he meets the resident family under the paternal rule of Jupiter, King of the Gods. Jupiter, a larger than life character, is played here by another regular, Andrew Robinson. Andrew’s strong voice is demonstrated to good effect, in dialogue and song, in his role as devoted father to several Gods, and less-devoted husband of Juno, an equally statuesque and comedically-effective Marianne Duffy, who tries, without success, to limit her errant husband’s infidelities.

Prominent members of the family of deities are Gods and Goddesses Diana, Venus, Cupid and Mars. Each of these plays their role in appropriately characteristic styles.

Playing Diana, Goddess of Hunting, Debbie Dubberley, an operatic soprano familiar to Concordia audiences, has in recent years sung prominent roles for the company. In a part quite different to most of her previous characters, Debbie showed effective dramatic and comedic skills, in addition to her impressive vocal abilities.

As Venus, Philippa Althaus looked and sang in a way that perfectly suited the Goddess of Beauty. Her strong soprano voice was shown to great effect in Ha-Ha-Ha, where the young Gods list Jupiter’s numerous peccadillos.

Alice Chambers, in lurid green lurex, also sang delightfully and acted playfully as Cupid, the mischievous God of Love.  Stanley Opera is fortunate to have female singers of the quality of Vicki, Debbie, Philippa and Alice in the company’s ranks.

As Mars, the God of War, Josh Robinson was suitably thuggish and troublesome.

In smaller principal roles, Pete Henderson, a roller-bladed Mercury, Andy Cropp as the bar-lounging Styx, and Helen Hurst as a Hades tour guide, added to the development of the story.

The Principal line-up was supported by a chorus of about twenty Stanley Stalwarts, who contributed to the several ensemble numbers.

 

The technicals

Lighting of the three sets was sensitive, and Sound design well balanced and controlled. The scenes were economically but nicely furnished, and special effects, particularly the balloon, Icarus’s pedalled horse-cum-quadbike, and the nightclub toilet (Hades Ladies!) cleverly constructed and comedically effective. 

It was good to meet the writer/directors, MD and members of the cast after the final performance.

Congratulations to all concerned, particularly the co-authors. I hope their hard work in creating this new version of an old favourite meets with success. 

© NODA CIO.  All rights reserved

© NODA CIO. All rights reserved.