On paper, transposing The Merry Widow from Belle Époque Paris—with diplomats and Ruritanian princes—to 1950s New York and Sicily, with Mafia gangsters, looks like a bold move. But this new version, with lyrics by David Eaton and a book by John Savournin (who also directs), keeps the essence of the original story intact, while allowing the sexism of earlier English-language versions to be wittily reimagined.
Moments where this lighthearted operetta moves into the sublime
The widow of the title is ‘merry’ in the sense that she inherits a vast fortune from her late Sicilian husband and gains the consequent freedom. Don Zeta, a New York Godfather, wants to unite with the Sicilian gang (and gain control of the fortune) by getting his consigliere, Danilo, to seduce and marry her. However, Danilo and the widow share a romantic history, and the wounds (and mutual attraction) have not faded. Meanwhile, Zeta’s gangsters and their wives are embroiled in various affairs—including Zeta’s own wife, Valentina, who is having a dalliance with a French jazz singer.
Savournin’s gangster setting adds both tension and comic subversion, contrasting the public machismo of the wise guys with the way the women control their men in private.
The cast are strong throughout—both in character scenes and in the many group numbers—musically, comedically, and dramatically. They also perform Kally Lloyd-Jones’s non-stop witty and pertinent choreography with flair and verve. Spectacular and ingenious set designs by takis enhance the production.
Savournin’s direction keeps the constant tonal shifts perfectly balanced: slapstick and ribald comedy teeter on the edge of real threat; moments of delicate inhibition sit alongside heartbreak, joy, sadness, and regret. There are comedy songs and moments where this light-hearted operetta touches the sublime.
There are at least three spine-tingling moments. The supernaturally timeless Vilja aria is beautifully sung by Paula Sides, playing the widow. Sides is unerring in her singing throughout the show, ranging from delicate nuance to belting out the showstoppers with panache. She portrays the widow’s complex emotional landscape—emotions that turn on a penny, or are even felt simultaneously—with great skill. Another highlight is Danilo’s Merry Widow Waltz, lifted to spectacular heights by Alex Otterburn’s gorgeous baritone. And there’s an exquisite ensemble piece featuring the principal characters—the widow, Danilo, Zeta (played by Henry Waddington), Valentina (Rhian Lois), and the jazz singer (William Morgan)—in which each sings the same words, but with a different story of heartbroken, hopeless love.
