Showing @ Festival Theatre, Edinburgh until Sat 8 Oct – run ended

There are many things worthy of praise in this production of Kurt Weill’s Street Scene by The Opera Group and The Young Vic. Direction, design, choreography and performances show real quality, but when put against its numerous flaws unfortunately this is a show that is never the sum of its parts.

Director John Fulljames is clearly a man who understands the world of opera and musical theatre. His staging, alongside choreographer Arthur Pita, on the big numbers and emotional highlights is intelligent and sympathetic and his creative peopling of the stage makes this a beautiful piece to look at. That is, at least, when the cast are singing, but Fulljames seems entirely disinterested in the dramatic moments inbetween the songs, the quantity of which causes friction between Weill and original playwright Elmer Rice. These scenes are incredibly stilted and it feels as if the director is impatient to get on to the next tune.

There are also issues of casting, particularly with the romantic leads, with Susanna Hurrell far too insipid as Rose and Paul Curievici heavily overplaying the nebbish card as Sam. However, both Elena Ferrari as Anna and Geof Dolton as Frank are convincingly tragic.

The biggest flaw, and the one that causes much grumbling from audience members in the bar, is the decision to place the orchestra onstage. This, when combined with the un-miked performances of the singers means that much of Langston Hughes‘ lyrics go unheard. If this were a light, fluffy musical full of moons, Junes and spoons it might be forgivable, but Street Scene is as much a piece of social commentary as it is entertainment.

The big cast numbers all work and if Fulljames never quite got the hang of the dark, oppressive, dramatic atmosphere, he certainly shows a mastery of the vibrant upbeat moments, with both The Ice Cream Sextet and Wrapped In A Ribbon And Tied In A Bow highlights of Act One. The dance routine for Moon Faced, Starry Eyed feels somehow out of place but still wonderful.

It would be unfair to call this production bad but its weaknesses far outweigh its strengths, making it feel like a lost opportunity. In the end, this New York tale is more of the lemon than the big apple about it.