Reviews

Leonard Bernstein’s brilliant score for his comic-operetta came vividly alive last night in a satiric and dazzling production by Opera Q. Lindy Hume’s assured directorial flair was everywhere from the cascading coloured sands of Eldorado to an emotional tree-planting finale it was thrilling musical theatre. Using the Bernstein approved concert version that was created by him following a Scottish Opera production of the show in 1988, it was the clearest interpretation of the story I have ever seen, and brought out the satiric intent of Voltaire’s original novel.

Nanette Frew returns to Pymble Players to direct this classic play of the 1950s whose messages about prejudice and social class, like those of To Kill a Mocking Bird, still resonate with contemporary audiences. Frew has ensured her actors find all the idiosyncrasies of the twelve jurors in this courtroom drama and says “it has been fascinating to work with an all male cast.”

The intonation, the booming voice, the musical delivery—Bob Kingdom’s performance is beautiful. With only a podium, a glass of water a chair and some simple lighting to help, Kingdom is as charming, captivating and pathetic as Thomas himself. Of course it’s all about the words; that extraordinary lyricism that was a smack in the face to the spare, adjective-free, skeletal verse of the early 20thCentury. Dylan Thomas adored language, swimming through his lexicon with unnatural grace.

Mention Sweeney Todd today and one automatically thinks of Sondheim’s brilliant masterpiece. One forgets that the story of a barber who cuts his customers throats and whose bodies end up in meat pies has been around for centuries. In fact fourteenth century France is reputedly the first time the tale was documented. The story became a staple of melodrama in late 18th century London, and this version by Brian J.