Richard Jones’ remakes of classics can sharpen up edges blunted by familiarity, but the double bill known as Cav and Pag isn’t improved by his repositioning. The evening’s chief merit is Edward Gardner’s conducting.
Part of the problem with Cav lies in Ultz’s set, placing the action in a box representing a low-status fifties Italian eatery. It feels contrived and we gain nothing from the introduction of a new character, Turiddu’s brother. Sean O’Brien’s new translation sounds far more artificial than the old ones.
Vocally, there’s a strong Alfio from Roland Wood, but while Peter Auty’s tone as Turiddu is glamorous, his Tweedledum costume undermines the Latin lover-boy impression. Jane Dutton’s Santuzza lacks intensity and vocal consistency.
Pag goes better, the play within a play here a seventies sex comedy called Ding Dong performed by telly stars in a provincial theatre. Lee Hall’s new version has the merit of consistency, and Ultz’s sets are finely achieved, although moving them involves a lengthy hiatus.
But some of the momentum that should carry the piece along is missing. Geraint Dodd’s strong tenor is an asset as Kenny (Canio) but his acting is a lost cause. Christopher Purves’ Tony has his cheesy mannerisms off pat, but vocally there’s no Italianate vigour. Mark Stone’s Woody (Silvio) shines and Mary Plazas’s Nelly (Nedda) is appreciable. But a Pagliacci where the real audience laughs at the violent denouement has gone wrong somewhere.
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