After some decidedly dull Merry Widows from ENO and the Royal Opera, and not forgetting WNO, this fun-packed staging from Opera North will restore enthusiasm for Lehar’s operetta. Its unashamed vulgarity and frivolity, and the saucy frocks, will give audiences a much-needed boost in these gloomy times. The cheering and collective joy as the men dance a high kicking, music hall chorus is wonderful to witness.
A scene from The Merry Widow at the Grand, Leeds Photo: Alistair Muir
Stephanie Corley makes her Opera North debut in the title role and she looks ravishing. Ravishing enough to have this reviewer sitting bolt upright. She sings rather well too. Her Widow is a gorgeous creature, sexy and sensible, a mix of city glamour and country girl vowels. As Valencienne, the Ambassador’s wife and former chorus girl, Amy Freston is a sparkling, vivacious revelation and boy can she cancan.
Ace wordsmith Kit Hesketh-Harvey has been drafted in to translate, along with ON’s Giles Havergal, and to give the dialogue some fizz. With a plot about a mythical Balkan country’s financial perils, he has a glorious time. Happily just about all of his lines can be heard.
The choreography, from Stuart Hopps, has lots of neat and nimble footwork, and surprising cartwheels, but in one or two scenes the stage is looking overly crowded. No bumping or bruising as yet.
Altogether a timely reminder of why The Merry Widow has remained so popular. Even conductor Wyn Davies shows nifty side steps as he comes on stage to take his bow.
Production information can change over the run of the show.
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