Leonard Bernstein rated this operetta as one of the dozen greatest musical classics of the 20th century; it is also one of the most intelligent interpretations of one of the foundational texts of Western civilisation – no pressure then on this performance!
Musically, the production is gorgeous
The show is a promenade production in the National Museum, with the advantages and disadvantages that a site specific piece entails. The constraints of the wide rectangular hall is overcome by placing the orchestra in the centre of the hall, while the 70 plus choir mingles with the audience or group together at each end of the hall, or split into smaller groups. The choir (guided by multiple choir masters) acts as a proper Greek Chorus – deeply involved in the action and taking part in the unfolding story. The director, Roxana Haines aimed to give the episodes of the story a sense of ritual, and this works well, giving vivid depth to the life of Thebes and adding to the intensity and clarity of the action. The lyrics are sung in Latin, and although a Speaker gives an English prologue to each section, it helps to have as many clues to the unfolding events as possible! The staging provides powerful moments – such as Jocasta denigrating the oracles to Teiresias's face, Oedipus accusing Creon of treachery or Jocasta’s spurning by the citizens.
If you are setting an ancient story in a setting containing ancient objects it is natural to try and use that context, but having the Speaker be a modern-day cleaner and Oedipus as a museum exhibit that comes to life simply comes over as jarring Nights In The Museum whimsey.
Uniquely, this production populates the balcony with onlooking Gods. This was fine as ornament, but is confusing when the Chorus looks to the balcony when beseeching the Gods, as these characters have no part in the action. Tiresias descending from the balcony was also confusing; his ancestry is part divine, but in the events of the opera, he is strictly human.
Musically, the production is gorgeous: the orchestra (conductor Stuart Stratford) sounds beautiful, and the brass section (so important in this piece) is notably precise and clear. Roland Wood as Creon impressed, Shengzhi Ren as Oedipus was strong and in control throughout and Kitty Whately’s charisma as Jocasta was scene stealing.
An outstanding musical performance of a great work.
