Based on the 1920’s Alberto Cassella play La Morte in Vacanza,
Tarento and Southerland have a reputation for turning the most obsolete musicals into theatrical heaven, but even though it’s enjoyable in parts, this one couldn't be revived no matter how many holidays you give it.
After what should have been a fatal car crash, the newly engaged Grazia is flung from her vehicle into the arms of Death, but rather than perform his duties, he is smitten and decides to spare her life. Death decides to experience human existence with a brief holiday at the home of Grazia and family in Venice. He bargains with her father – who recognises who he is – to stay under the guise of a Russian prince on the agreement that as long as his secret is kept then nobody in the home will come to any harm. Over the course of his stay the global death toll halts; romance blossoms between the many house guests; and they are left bewildered why further seemingly fatal accidents just aren't, well, fatal.
As elegant and sophisticated this beautiful and intimate musical is, I failed to connect or care about any of it. The characters, the story and the question it asks about the beauty in death and love. The only beauty of this piece is its incredible score by Yeston, simple and gracious. This is not a hum-along musical; but as always prevails in Yeston’s work, Titanic, Grand Hotel, it is the wonderful sophistication. Under the effortless guidance of musical director Dean Austin, it smoothers you in melodic joy and indulgence that lifts you to the rafters on every high string and crescendo. Unfortunately though, with its whimsical characters, simple dialogue and sparse cliché plot points, there is little match to its wondrous score – leaving a disjointed feeling throughout the evening.
As usual producer Danielle Tarento and director Thom Sutherland have assembled a talented team of cast and creatives to breathe life into Death. A well devised and practical set by Morgan Large plus Mat Daw’s sensitive lighting evoke a haunting essence in perfect balance and are truly eye capturing in this production. Southerland’s direction sticks to his usual brand of chamber presentation as seen in his previous triumphs Titanic, Parade, Grand Hotel; however, as much as his presentation is clean and precise, it missed with the quirkiness of this piece. His simplicity and choral procession of furniture, scenery and ensemble didn’t invigorate or ignite.
Some generous performances lit up the stage and warmed the ears. Chris Peluso is in fine voice as Death and is graciously joined by the soprano delights of Zoe Doano as the love lorn Grazia. James Gant as man-servant Fidele is always a joy to watch and simply baring witness to the wonders of theatrical legend Gay Soper as Countess Evangelina di San Danielli is truly a delight to any musical theatre lovey.
Tarento and Southerland have a reputation for turning the most obsolete musicals into theatrical heaven, but even though it’s enjoyable in parts, this one couldn't be revived no matter how many holidays you give it.
