Get our free email newsletter with just one click

The Secretary Turned CEO

Sofia Troncoso, Jordan Ellaych and Tristan Harkcom in The Secretary Turned CEO Sofia Troncoso, Jordan Ellaych and Tristan Harkcom in The Secretary Turned CEO
by -

In a radical reworking of Pergolesi’s comic opera La Serva Padrona, composer Danyal Dhondy moves the action from an 18th-century boudoir to the office of the toilet paper factory Soft Sheets Inc. It’s a bold move that’s ripe for some ribald comedy and while Dhondy playfully updates the flirtatious intrigues of the Baroque, Rebecca Marriott’s fresh libretto lacks the polish to match. This is countered somewhat by the contemporary recitative, which complements the original and helps ease the transition, but also highlights the vast divide between performing musical comedy and performing opera.

As Selena, the wily secretary of the title, Joanne Watson offers a valiant, versatile soprano with a knack for bawdy comedy that helps to bridge the divide. Crispin Lewis however delivers a solid vocal performance as Hugo, but his comedy acting seems awkward and forced, as if he is trying desperately to reach some kind of happy medium. Full marks to Jordan Ellaych as the silent Intern for earning all his laughs without singing a note.

This awkward hybrid is an uphill struggle mostly but not without merit, particularly the accomplished string-heavy band  and an audacious use of colour in the costumes and props from designer Rhian Morris.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
An intriguing hybrid hampered by conflicting performance styles and a weak libretto
Paul Vale
Paul has been writing for The Stage since 1998 as a critic and feature writer. He is also part of The Stage's Edinburgh Fringe review team.