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18 Reviews See All
© Clive Barda
5 October 2019
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28 November 2019
The other saving grace is the strength of the singing and acting which is uniformly crisp, nimble and technically skilful. This work offers much more for Eurydice than for Orpheus and Mary Bevan is fu
With Rice in charge all the acting was badly directed, and the setting was equally unhelpful. Sian Edwards was the decent conductor, but not one to overcome such unfunny goings-on.
In the pit, Sian Edwards does her best to serve up some sparkle, but the stop-starts caused by the dull (amplified) dialogue take the edge of the dramatic pace. Glitter and be gay this Orpheus is not.
Offenbach’s characters are cartoons, and cartoons with human eyes aren’t more sympathetic; they’re just creepy. So the closer Rice stuck to the original scenario — the more she leaned into the
The image indelibly imprinted on our mind’s eye, all joy was smothered in the opening minutes. It was the prelude to a night of flat jokes and dramatic miscalculations.
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