dfp_header_hidden_string

Get our free email newsletter with just one click

The Orchestra review at Omnibus, London – ‘a diverting take on Jean Anouilh’s farce’

Sara Waddell in The Orchestra at Omnibus Theatre, London. Photo: Jacob Malinski

Set in the aftermath of the Second World War, as a new normality grew awkwardly from Europe’s ashes, The Orchestra is an often-overlooked black comedy from prolific French author Jean Anouilh.

A frothy farce with an appealing undercurrent of disillusionment, it sketches out the various rivalries and worries of a small-time big band reduced to playing the cafe circuit. Tightly written snatches of dialogue gradually flesh out stories of affairs, domestic drudgery, and wartime desperation, broken up by pleasant musical passages.

These would have been more effective if even some of the music was played live, but despite committed miming and a perfectly serviceable score from Felix Cross, the interludes feel flat and artificial.

Director Kristine Landon-Smith puts some movement into the necessarily static staging, with subtle spotlighting shifting our attention from conversation to conversation, while Toph Enany’s cantankerous manager Lebonze prowls the auditorium, glaring at the players as they scheme and slack off.

Among the ensemble, Pedro Casarin ties himself in convincing knots as deeply repressed pianist Leon, wincing when he’s spoken to and fondling the violas when no one’s looking. Luna Dai and Sarah Waddell bicker believably as competing violinists with much in common beneath the surface, while Amanda Osborne’s band leader Mme. Hortense covers up her seething sexual frustrations with a show of patrician refinement.

At times, the play’s laconic humour gets lost in the production’s continually shifting tone, but Anouilh’s vividly-drawn caricatures remain recognisable and relatable in all their pettiness and promiscuity.

 

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
Verdict
Pacy, dark, and diverting take on Anouilh’s under-appreciated farce
^