The Merry Widow

Ah, the joy of still being able to review a tuneful operetta packed with proper melodies!  And how comparatively rare in all, bar long and well established shows, though there are exceptions. As deputy reviewer for my NODA colleague and fellow rep., Gloria Smith, who directed this production, I was glad to come along, knowing the sumptuous melodies that this well loved show provides.

A strong and talented principal cast with excellent lead players possessing quality singing voices underpinned the undoubted overall success of this performance. Sue Prior as Anna, Madame Glavari, in the title role gave a vibrant and charismatic performance. She was in full command of the stage and her facial expressions were truly a delight.

Playing opposite Madame Glavari was Alex Haigh, equally outstanding as the charismatic and brooding Count Danilo Danilovitsch.  Another forceful performance was given by Keith Kimnell in the important role of Baron Zeta, exuding natural authority. Giselle Thorne also shone as the cheating ambassador's wife, Valencienne. Giselle is yet another with a special  singing voice and such an elegant mover too, I could not help noticing. Kevin Chapman as Camille (Count de Rosillon) did well too, making a good foil for Valencienne - another good tenor voice!

Two pompous and most amusing roles were played to the hilt by the rivals St Brioche and Cascada played by Michael Crow and David Chapman respectively. Other principal roles were all generally well played by a well directed and strong cast. Other  principal roles were all generally well played and a special mention too to Mike Davenport as the hard pressed Njegus, Baron Zeta's Factotum.

The elegant turn of the twentieth century setting in the sumptuous Pontevedrian Embassy in Paris, with the splendid costumes, especially for the ladies, was impressive. The range of fascinators with long gloves perfectly captured the elegance of the period feel to the piece. A little less impressive were the mix of male black shoes though;  some were shiny patent, but others rather matt and unpolished looking.

Director Gloria beautifully captured the essential mannered formality of how the players behaved in that period setting. Hypocrisy abounded and the various human weaknesses and deceptions were skilfully brought out, giving much depth to the story. I was highly impressed with the general chorus singing and the well controlled band under the obvious authority of a fine musical director in Richard Stockton. Of course Franz Lehár "assisted" rather well, let us not forget!

A true show highlight for my money was the marvellous Grisettes song featuring -      
Lolo                  Heather Cartwright
Dodo                Julie Kimnell
Jou-Jou            Diane Slater
Frou-Frou        Jenny Hindley
Clo-Clo            Susan Linsell
Margot             Hilary Witts

These attractively high-kicking dancers really shone and frankly, if you don't appreciate dancers of this quality, then theatre is not for you!  Suffice to say, I most certainly did like them, each and every one!   As the programme credited no specific choreographer, I must presume that the show director also devised and set all the dancing herself.   Impressive!

The comfortable and well run theatre, which previously I had never attended - something I will most certainly remedy - provided a warmth and hospitable feel. A spacious stage and two intervals, albeit a very short second one, gave the stage manager Sylvia Dowding good opportunity to impress all with the effective sets, which gave the feeling of vast wealth, so central to the plot. In today's world, Pontevedria (if only it existed at all) would be firmly ensconced in the EU and unafraid of losing its material wealth to "big bad France"!  Producer Brian Dowding did a fine job and, not content with "merely" producing, also operated lighting, with both lighting and sound design kept firmly in the family in Jeremy Dowding, who also mixed sound, which was exceedingly well handled.

There were some splendid wigs and the make up was diligently supervised, courtesy of Julie Lawson and Val Hitchcock. Val, together with Truda Wooller did fine work on the impressive costumes and beautifully fitted gowns. It was reassuring to hear every spoken syllable clearly and I left with only one regretful thought. Namely, what a shame that so many modern shows have neither the elegance, the pace and glorious immortal melodies so richly present in this highly enjoyable production. An evening to remember indeed!

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