Viennese waltzes from a string quartet, a courtesy punchbowl in the foyer, the recovered plush and gilt proscenium, with the chorus filling the domed boxes at each side of the stage, set a festive scene for the opening of the Everyman Palace production of The Merry Widow.
Director Cathal McCabe and musical director Martin Barrett were of one mind in their approach to this translation (by Christopher Hassall) of Franz Lehar; it is too well known to be exaggerated, so they have allowed free rein to the drama rather than the story, the acting rather than the singing. And the acting is terrific. The breezy Americanisms of Andrea Huber sit easily with her version of the widow Glavari; the romantic tension between her and Karl Daymond's Danilo is palpable and their encounters have a mischievous sexuality which, when they sing, is almost poignant.
Their fine voices are honed with a tender deliberation (especially in Huber's phrasing of Velia) which lifts (and in the case of Though I Say Not What I May Not suspends) the score from the curse of predictability. They play with the expectations of the audience and so heighten the impact of the songs when they come.
Theirs is the crucial pairing of the production, but there is great delight, too, in the performance of the second couple, Valencienne and Rosillon, beautifully sung by Linda Kenny and Eric Reiger (his closing aria is a show-stopper).
There are some flaws, and even in a relatively modern version I don't think a diplomat would let "merde" drop readily from his lips, but with Patrick Murray's Art Deco set, Ray Casey's lighting, firm leadership of the orchestra by Frances Kelleher and effective choreography by Philip McTaggart Walsh, this production is effervescent.
Continues at the Everyman until Saturday, September 16th. To book, phone: 021- 501673.
