Jeopardy can often spark collaboration. In dystopian fiction, faced with apocalyptic threats, survivors band together, share tactics and split resources. Unity can create a sustainable reality. It is characteristic of the collegiate approach that James Clutton and Opera Holland Park take that they have teamed up with Scottish Opera and D'Oyly Carte in a shared production of Lehár’s The Merry Widow. First seen in Scotland, this production’s appearance at Opera Holland Park marks a homecoming for a number of its creatives.
Alas, this is a production that struggles. Director John Savourin doesn’t just update the setting to 20th-century mafia-heavy New York; through writer David Eaton he completely rewrites the script. Thus Baron Zeta becomes Don Zeta, a godfather frantically trying to gain Hanna Glawari’s inherited riches – from Sicilian lemon farms – for his family’s benefit; Danilo becomes a consigliere, while a “birthday” cement-mixer becomes a character in and of itself. Theoretically it’s an entertaining, if liberty-taking, prospect. In practice, it’s laboured and particularly through Act I, is almost a chore.
Exaggerated New York accents dominate, trotting out clichés like “sleeping with the fishes” incessantly. Unfunny henchman vie to seduce mafia molls. “Don” Zeta, having been made a bumbling and ridiculous figure loses any sense of threat that comes with the mafia colouring; moments such as the likely murder of Camille are interesting, but tonally discordant. There are some bright spots, including a wrapped corpse hopping up to join in a dance in Act 2 in a genuinely laugh out loud moment. The production also benefits from gorgeous sets from takis, who pairs lavish design with detail and a sensitivity to the venue. Act 2, here relocated to Glawari’s Sicilian villa, is the highlight, with abundant lemon trees and a sense of haze that does more to evoke Sicily than the text.
Musically, the production benefited enormously from conductor Stuart Stratford and the Orchestra of Scottish Opera; Stratford drew a glossy, luxurious sound from the band, intense and syrupy in the overture, effervescent and frothy elsewhere. Tempi were perfectly judged; the playing, particularly from the deeper strings, was spot on. Elsewhere, performances varied. Intentionally or otherwise, the production put a very heavy spotlight on Valentina, sung by Rhain Lois. She was a Don’s moll about whom we could genuinely care, articulating – despite the hyperbole of the setting – that clash between loyalty and a desire to alleviate devastating loneliness. Lois’ bright, vivacious soprano, easy at the top and well projected, was tireless throughout the performance – a tremendous success.
Paula Sides was a less assertive Hanna than some; although she showed an attractive high register, she struggled in the lower and middle and frequently lost audibility against the orchestra and other principals. Alex Otterburn’s sturdy baritone gave reliability to his Danilo, a touch of velvet always in the voice. He was a touch laconic in stage presence, but this may have been more due to the direction than to him. Henry Waddington’s burly bass-baritone had the right amount of heft for Zeta and one can see an easy facility for buffa roles in his easy delivery. Tenor William Morgan gave a tightly emotional performance as Camille.