______
8 November 2023
______
4****
______
Directors of stage productions always take an enormous risk when deciding to stage a well-known piece of work in unusual surroundings. Thus the decision by English Touring Opera to develop the story of ‘Cinderella’ (La Cenerentola) – Rossini’s sparkling 1817 work – inside a museum with the characters as exhibits, is a fascinating one.
Rossini ditched some of the traditional elements of the fairy story, so don’t look for a fairy godmother or a wicked stepmother (though there is a stepfather); but the story is entirely recognisable, even in this setting.
Under the direction of Jenny Ogilvie and with superb designs by Basia Binkowska, augmented by Charlie Morgan Jones’ effective lighting design, the performers pick up the baton and run with it and result is hugely entertaining, funny and bold. The whole proceedings helped enormously by Christopher Cowell’s witty and modern libretto; it may create some raised eyebrows but it provides just the right amount of laughter and much admiration for some of the rhymes. Overriding these, Rossini’s delightful score is taken at a cracking pace by conductor, Naomi Woo, and the orchestra are up for the challenge.
Usually portrayed as the Prince’s tutor, Alidoro is here the museum caretaker/curator, and on his last day in his job, changes are afoot. Displays are being dismantled and removed in large wooden crates. Gradually crates are delivered and the characters of the story take to the stage – yes, it’s a tad different! Edward Hawkins presents a geekiness to the role which seems to straddle the Buttons/Fairy Godmother characters; singing with great clarity. The ugly sisters, Clorinda and Tisbe are perfectly portrayed by Nazan Fikret and Lauren Young who battle it out for the award for who is the most ghastly and who has the loudest voice; cracking comic characterisations. Their buffoon of a Father, Don Magnifico, who seems to have a Napoleon complex is also given a hefty slug of humour by bass Arshak Kuzikyan. Edmund Danon is a splendid Dandini, thrillingly enjoying ‘playing’ the prince and Joseph Doody’s sublime voice tackles the range of notes in superb fashion; the height difference between the two adds an incidental comic note. Esme Bronwen-Smith’s Cinderella is so very vulnerable at the beginning of the story, but grows in stature throughout; what doesn’t change is the quite brilliant voice she has, which is used to full effect throughout. The ensemble of soldiers/museum workers create a very effective quartet.
By the end of the story, Cinderella is not content with just getting away from her step-family but forsakes everyone as all the other characters return to their packing cases and she, carefree, runs off in triumph; she has overcome all the obstacles in her life and is free to make all her own decisions!
To anyone thinking opera is stuffy and inaccessible, go and see this production. It won’t be to everyone’s taste and the interpretation of the story isn’t 100% clear, but it is utterly enjoyable and full of wit and exquisite music; instrumentally and vocally. It is highly recommended.
______
Cast & Creatives
Cinderella – Esme Bronwen-Smith
Ramiro – Joseph Doody
Alidoro – Edward Hawkins
Clorinda – Nazan Fikret
Tisbe – Lauren Young
Dandini – Edmund Danon
Don Magnifico – Arshak Kuzikyan
Ensemble – Zahid Siddiqui, Sandeep Gurrapadi, Theo Perry, Peter Norris
______
Conductor – Naomi Woo
Director – Jenny Ogilvie
Set & Costume Design – Basia Binkowska
Lighting Design – Charlie Morgan Jones
Librettist – Christopher Cowell
Image – Richard Hubert Smith
