Tag Archives: MARTIN LLOYD-EVANS

REVIEW: The Mikado, Scottish Opera & D’Oyly Carte – Theatre Royal, Glasgow

Silly, sumptuous and satisfying, Scottish Opera and D’Oyly Carte’s co-production of the perennially popular, anti-establishment satire The Mikado, is a delight from start to finish.

Rebecca Bottone as Yum-Yum & Nicholas Sharratt as Nanki-Poo Copyright: James Glossop

Rebecca Bottone as Yum-Yum & Nicholas Sharratt as Nanki-Poo
Copyright: James Glossop

The team that brought us 2013’s Pirates of Penzance have once again produced a picture-perfect, people-pleaser of a production. It’s Victorian music hall meets Imperial Japan and from the moment the curtain rises on Dick Bird’s sumptuous set, you can sit back, relax and rest assured that this will be a winner.

image

Copyright: James Glossop

Since Jonathan Miller’s much-revived 1920’s reinvention, almost all Mikado productions have suffered in comparison, but Martin Lloyd-Evans’ more than holds its own in the visual and entertainment stakes. Indeed, it even has G&S veteran Richard Suart, a much-lauded Ko-Ko from Miller’s production in this cast. Stuart’s sure-footedness is evident throughout, playing Ko-Ko as a cockney spiv in a kimono consistently tickles the audience, Tit-Willow, with its puppet crow is a particular highlight.

Richard Suart Andrew Shore Scottish Opera Mikado

Richard Suart as Ko-Ko & Andrew Shore as Pooh-Bah Copyright: James Glossop

In an almost universally solid cast, a few stars shine bright: Nicholas Sharratt’s Nanki-Poo is more Gussie Fink-Nottle than prince of Japan but it works beautifully, Rebecca de Pont Davies is a wild-eyed and wicked Katisha and Ben McAteer is a wonderfully witty Pish-Tush, however, less successful is Rebecca Bottone’s very light Yum-Yum, drowned by the orchestra throughout.

Ben McAteer Scottish Opera Mikado

Ben McAteer as Pish-Tush
Copywrite: James Glossop

For both G&S veterans and newcomers to opera, this sumptuous feast is a delight, sending the audience skipping onto the streets, whistling a witty ditty – a satisfying end to Scottish Opera’s spring season.

Rebecca de Pont Davies KatishaKatisha Mikad Scottish opera

Rebecca de Pont Davies
Copyright: James Glossop

 

This production tours to Inverness, Aberdeen, Edinburgh, Belfast, Newcastle, Bristol and Southampton.

More details can be found on the Scottish Opera website at: https://www.scottishopera.org.uk/

REVIEW: Il trovatore – Theatre Royal, Glasgow

The great Caruso famously stated: “all it takes for a successful performance of Il trovatore is the four greatest singers in the world”, and it must be acknowledged that it is a brave company indeed who takes on this much-loved melodramatic, but ultimately gloomy masterpiece of Verdi’s. Scottish Opera may not have found the magical four in this production but they certainly have two truly outstanding singers in Gwyn Hughes Jones’ troubadour of the title and Anne Mason’s Gypsy Azucena.

With an almost incomprehensible plot, at best it could be described as unconventional, it certainly stretches the boundaries of belief, this difficult to stage work relies on Verdi’s masterful music to make sense of proceedings.

Martin Lloyd-Evans’ revamping of the Company’s 1992 simplistic but soaring set design does little to aide an often too-static production other than setting the atmosphere firmly in the Middle Ages, but it must be said that it doesn’t hinder the narrative, rather lending it a welcome cohesion.

What elevates this production is a hugely talented cast. Claire Rutter is an assured Leonora, coping with ease with this notoriously difficult to sing role, Roland Wood’s Count di Luna is both commanding in presence as well as voice, but it is Anna Mason’s emotive Azucena and Gwyn Hughes Jones gloriously voiced Manrico who truly capture the eye and ear.

The chorus under the direction of Susannah Wapshott is particularly fine sounding, however the much-anticipated Anvil Chorus is a tad underwhelming, more tinkling triangle than arresting anvil.

Under the brisk baton of Tobias Ringborg the Orchestra of Scottish Opera sound full blooded throughout.

This is a traditional, assured, no-frills production with a fine cast and a blistering orchestra: highly recommended.

Runs until 17 May 2015 then touring.

This article was original written for and published by The Public Reviews at: http://www.thepublicreviews.com/il-trovatore-theatre-royal-glasgow/