Candide

Candide is a spectacularly crazy show and the audience on opening night lapped up every note, nuance and movement with gusto. Everyone was along for the ride - and what a ride! We travel from Westphalia to Lisbon at the time of the 1755 earthquake to the Spanish Inquisition to Montevideo to Eldorado, and finally Constantinople through a whimsical set of polka dots and fabulously flamboyant costumes!

The show, written and composed by Leonard Bernstein and based on Voltaire’s novella of the same name, is cleverly explained by narrator Mitchell Butel, through historical context. Voltaire’s Candide, written in 1759 was in response to his changing world during the Age of Enlightenment. His ideas questioned current theology and highlights the impact of the Spanish Inquisition and the theodicy of Liebniz - “all is for the best in the best of all possible worlds.” The Bernstein version sprang from the McCarthy era where behaviours and attitudes also were changing in society. Butel quips that it is even relevant in our own political and social world today. Murmurings of acknowledgement from the audience were spurred.

Candide brings together the talents of the State Theatre Company of SA and the State Opera company. The richness and experience this brings, coupled with the talented co-direction by Mitchell Butel and Amy Campbell, make this a show not to be missed. Witty and clever and at times, downright crazy, we see the main character Candide (brilliantly played by Alexander Lewis) bumble his way through adventures that challenge his optimism to win the love of his life, Cunégonde (glittering star Annie Aitken). This is a play about education and survival in a harsh world. We each seek truth about our place and whilst our journeys may not be as eventful and unrealistic as those encountered by Candide, we share in the human search for happiness.

The show is staged cleverly by Butel and Campbell, richly decorated in psychedelic colours of fancy, spheres dominating the theme- clownlike and at the same time other-worldly. This dressing of the set by Alisa Paterson is masterful, yet didn’t detract from the story being told. The costumes, likewise, by Brendan De La Hay are fanciful; vibrant bursts of colour with a nod to the period of the original setting. Cunégonde’s lavish flamenco style, purple layered costume, was a triumph, as was that of The Old Lady (Caroline O’Connor), but the show stopping costumes belonged to Adelaide’s own Hans, playing Maximilian. These outfits were over the top camp, richly embellished in typical Hans-style, complete with hat and trademark eyeshadow. The pairing of one particular costume with pink crocs just sent it over the edge!

Another clever piece of staging was to have the 44 strong company chorus of the State Opera placed upstage as a Greek chorus. The vocal harmonies of these talented people were sublime. Below the chorus was placed the fabulous Adelaide Symphony Orchestra, ably led by Anthony Hunt. Their sound was overwhelmingly beautiful as they richly brought to life, Bernstein’s pervasive score. The highlight for this reviewer was the finale of “Make our Garden Grow”- superb.

Further downstage we find a series of illuminated LED boxes, moved about by the cast and used in clever ways. This is the area of the main storytelling, set almost concert style, but allowing room for some wonderful antics by the cast. Butel is the ‘ringmaster’ here, narrating for much of the show behind a polka dot lectern. The lighting, cleverly created by Gavin Norris, brings a richness to the set as it focuses our attention and creates the mood in the various sections of the stage.

This cast is stunning - Lewis’s beautiful tenor voice and clever physicality portrays the fatuousness and naivety of the character with ease. His navigation of the ever - changing settings and bizarre situations is skilful. Aitken is an absolute gem, cleverly portraying twice-dead Cunégonde with a voice that is unbelievably pure and crystalline. As the Old Lady, Caroline O’Connor brings Broadway pizazz, and she is a joy to watch. Hilariously funny with rich vocals, she really is a star! As mentioned, the gloriously adorned Hans, plays Maximilian and whilst he doesn’t have the same singing chops as the other leads, this works ,as he bounces through a variety of very camped up funny characters. Taylah Johns is a recent graduate of the Elder Conservatorium of Music and deserves accolades for her debut as a very coquettish Paquette. An absolute standout, however, was Butel, smoothly transitioning between narrator and Dr Pangloss showing the sheer talent of this man- as an actor, singer and director. A wonderful performance.

The other characters- too many to mention- are ably created by John Longmuir, Michaela Burger, Rosie Hosking, Ezra Juanta and Rod Schultz. Each works hard racing on and off set in a variety of garb, bringing out the many characters of the story’s journey.

We are also treated, in the finale to the vocals of the second year students from the Elder Conservatorium as they appear in the audience to add richness to the swelling voices.

This is a show which is not only a visual feast but an auditory joy. It has every element of a brilliant production- tight, considered and creative directing, visual explosions of colour and light and vocals that make the heart soar. Add in the clever humour- particularly that of O’Connor and Hans and you have a perfect mix.

Candide is a wonderfully kooky night of theatre wrapped around a message of optimism and happiness for all, wrapped up in ribbons of sparkle.

Shelley Hampton

Photographer: Andrew Beveridge