‘Merry Widow’ offers opulent entertainment
By Juliet Schoen / Special to The Malibu Times
“The Merry Widow” by Franz Lehar may not be grand opera but it certainly is grand operetta. Colorful sets, exquisite costumes and outstanding performances make this Los Angeles Opera production a must-see, even for purist opera aficionados.
The plot of this pastiche is as substantial as a bowl of Jell-O but there is enough singing, dancing and buffoonery to fill out the evening and make the audience members at the Dorothy Chandler Pavilion applaud heartily at the rousing finale.
Since this is ultra romantic escape material, it is imperative that the lovers be attractive and have that special chemistry. You can’t do much better than Susan Graham as the wealthy widow of the title and Rod Gilfrey as her off-again, on-again lover. Graham is a gifted mezzo soprano with a flexible voice who is enchanting. Her rendition of the famous “Vilja, Oh Vilja” was absolutely mesmerizing. Opposite her was the Hollywood-handsome baritone Gilfrey who looked stunning in tux or uniform and acted with charm and humor. Oh, yes, his singing was right on.
The two stars also showed the ability to dance, which was a requirement for all the participants. Who needs a plot when dancing is a major component of the production? Peggy Hickey, the choreographer, does a remarkable job working out clever routines with the cast members as well as the professionals. Although the action takes place in Paris, the characters are from the fictitious country of Pontevedro, and a smashing number is based on its “folk songs.” When the action moves to Maxim’s in the third act, there is the obligatory can-can.
The costumes by Thierry Bosquet are mind-boggling! Feminist or no, any woman might abandon her voting rights to wear those dresses and hats, and jewels. In the first act, the women all wear white and black, with lace and gems and feathers and stuff. Miss Graham makes her entrance in an eye-popping red gown trimmed with silver. The second act calls up what is supposedly the Pontevedrian attire, with far-out costumes in aqua. Red is the theme for the magnificent gowns paraded at Maxim’s. Sumptuous sets were designed by Michael Yeargan
The large cast falls happily into the proceedings, acting with commendable teamwork. Outstanding is Jason Graae, a gifted comedian who drums up the laughs. Also excellent are Eric Cutler, a sweet-voiced tenor, and Jake Gardner as the pompous ambassador. Others are Malcolm MacKenzie, Greg Fedderly, Jamie Offenbach, Rena Harms, Jay Brian Winnick, Elizabeth Brackenbury, Brian Cali, Carol Swarbrick, Tami Tappan Damiano, and Mark Capri. Alas, for some reason, Elizabeth Norberg-Schulz was barely audible. The outstanding lead dancers were Yvette Tucker, Shell Bauman, Lisa Gillespie and Jonathan Sharp.
Since pacing and composition are so very important in a comic operetta, a great deal of credit must go to the talented director, Lotfi Mansouri. The Los Angeles Opera Orchestra under the capable direction of Sebastian Lang-Lessing beautifully rendered the lilting music by Lehar.
Enjoy this confection and forget the calories.