The Merry Widow

The Merry Widow, an operetta performed by Opera Viva at St Mary’s College, Everest Road, Crosby, Merseyside on Saturday, 29th April, 2023

Composed by Franz Lehár.  A new version, orchestrated by Melvin Tay and with text updated by Melvin Tay, Viv Sharp, and David Palmer.

From previous visits, Opera Viva does exactly as their mission statement states: ‘Brings opera to the masses'. Performing, not behind gold embossed curtains nor in front of ornate backcloths; without stage mikes or head mikes; and in halls, I suspect, with similar acoustics to those of a barn. People in Merseyside have the opportunity to, witness a first-class opera production for little more than the price of a programme at the Royal Opera House.

Madame Hanna Glawari is a vastly wealthy young widow from the small and poverty-stricken Balkan province of Pontevedro. Baron Zeta, its Ambassador in Paris, is anxious that when Hannah remarries, it will be to a Pontevedrian and not a Frenchman… so to keep her money in the country and save them all from ruin.

Steve Riordan, played ‘Baron Zeta’ with skill and conviction, he has stature and a natural stage presence; wherever Steve moves, the power dynamic moves with him. The part of Baron Zeta can easily be overplayed, almost pantomime like, but Steve played it like a true actor, believable as the trusting and lovelorn husband. A lovely, measured performance, Steve.  ‘Valencienne’, Baron Zeta’s young wife, was played by Eva Edwardes. Despite being young, Eva portrayed the character with a natural understanding beyond her years, which is after all what true acting is all about. It is hard to believe that such a lovely, mature singing voice was coming from someone so young.  ‘Count Danilo’ was played ever so well by David Palmer. Count Danilo has always loved Hanna Glawari, but love and pride prevented an earlier union.  David demonstrated just the right amount of swagger and panache for this character and in act three… provided us with a lovely portrayal of jealousy and pride!  ‘Madam Hanna Glawari’ was played ever so well by Pamela Ashcroft. From first entrance to last provided us with incredible stage presence and charisma… you just knew Madam Glawari had arrived. A beautiful soprano voice filled the hall with ease… whilst retaining a sweet sound. Pamela’s ability to convey thoughts and feeling through the eyes in third act was a masterclass!  ‘Njegus’… the Embassy Secretary, was played by Freddie Ligertwood. Freddie, was able to get inside the character of Njegus, with perfect diction and a lovely, believable manner.  A real character actor—whoever thought of the cane prop deserves credit. Well done.  ‘Camille de Rossilllon’ was played by Alex Thackray. It cannot be easy for a naturally feminine young woman to play a man with conviction yet Alex looked totally at ease, producing a great male stance and movement that definitely had the characteristics of a confident male, while retaining a natural endearing charm. With slicked-down hair, you reminded me of a young Julie Andrews playing Vesta Tilly. An inspiring performance, and again, it was a pleasant surprise to hear such a beautifully mature voice from someone so young.  Brian Tubb played ‘Bogdanov’, Philip Johnson played ‘Kromov’, Howard Yates played ‘Pritschitsch’, Peter McColgan played ‘Cascada’, and James Fleming played St. Brioche’… all were compelling to watch, with voices, movements, and gestures complementing their character’s status.

The Ladies:  Philomena Golding played ‘Sylviane’, Susanne Denner played ‘Olga’, and Rhia Taylor played ‘Praskovia’… they all moved and acted with the natural grace and style of the era, and all genuinely seemed to be enjoying their parts.

The Ladies of Maxims: Alison Davies played ‘Lolo’, Gretta Southern played ‘Dodo’, Karen Hawkins played ‘Froufrou’, Annette Reis-Dunne played ‘Cloclo’, and Marie Williams played ‘Margot’. Singing individually, you have pitch perfect voices- singing together your harmony is spine-tingling. It must have helped your character and mood when you were given such perfect dresses and headpieces. Exactly right for Maxims, a credit to whoever chose.

David Palmer and Alex Thackray directed the production in an imaginative period style - with an eye for fine detail. The direction was such that everyone at the party looked like they were enjoying themselves, not thinking of the next line or move.

Viv Sharp… Artistic Director worked with just a half-sized curtain backcloth and really deserved recognition. Scenes were changed with a few hanging flowers, lamps, and tablecloths. The audience was transported in seconds, you knew instantly you were in Madam Hannah Galwari’s villa, and then to Maxims. Real imagination and planning.

Impressive choreography which complimented the characters while allowing them to stay in the period,was devised by Jim Craig and Nora Button.

Heather Sinclair and Marian Yates handled Stage Management and Props seamlessly and discreetly.

Orchestra… Melvin Tay (Musical Director) has that magic, undefinable talent that brings an orchestra to life. When he raises the baton and the eyes of every player look to him- the respect is tangible.  Musicians included…Ben Claridge, Olga Eckert, Anne Tulchinskaya and Jeanette Szeto – Viola.  Hermione Smith and Rhianna Wade – Cello. Saulo Roberto – Bass.  Kristine Healey and Leila Marshall – Flute/Piccolo.  Johanna Leung and Beth Nichol – Clarinet/Bass and Clarinet/Sax. Peter Athans and Sebastian Williman – Trumpet.

Survey… before leaving, the audience was requested to complete a survey, which was quite detailed on the script and orchestration. I feel like it would be remiss not to respond.  Most opera and theatre goers I know, tend to be very conservative, personally, I embrace creative and imaginative change. Comedy and humour delight and then degrades, possibly each decade; what was funny a century ago may not be as side-splitting now. With that in mind, I'm sure Henri Meilhac, the author of the comedy play ‘L’attaché d’ambassade’ on which The Merry Widow is based, would have approved of such corporate phrases such as "that’s a task above my paygrade". The updated, gentle fun poked at the pomposity and double standards of the era. The orchestration, which may be due to the orchestra's position with respect to where we were sitting or the acoustics in the hall, occasionally had woodwind instruments that seemed to overwhelm. It did not however detract from the first-class performance; it was a truly lovely night.

Please, could I thank Peter and Jan McColgan for their warm welcome and courtesy during the night. Thank you.

Stay safe and keep well…
‘STRONGER TOGETHER’  

David Davies
On Behalf of…
Jim Briscoe
NODA North West
District 6 Rep

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