Showing @ Theatre Royal, Glasgow until Sat 26 Oct @ times vary (on tour across Scotland)
Mozart’s (im)morality tale has been given a witty and boisterous take by Scottish Opera director Sir Thomas Allen and his talented cast, providing audiences with vicarious thrills from the comfort of their seats as well, of course, as some of Wolfgang’s best tunes.
Opening with rape and murder and ending with hellfire and damnation there’s nothing subtle about this story and Allen plays it as dark farce, with the same energy given to his Marriage of Figaro and Barber of Seville. Set in Venice rather than Spain, the sets and costumes by designer Simon Higlett are impressive and give a sense of time and place, however there’s little that the Venetian setting adds to the storytelling – other than conjuring the ghost of Casanova.
Jacques Imbrailo is impressive in the title role. Strutting, arrogant and able to turn on a penny from charming to brutal, his powerful baritone is capable of being commanding and insinuating when required. As the Don’s put upon factotum Leporello, Peter Kalman gives excellent service to both his master and the audience. His hangdog expressions and suffering are hugely entertaining as is the interplay between himself and Imbrailio’s Don. In her interview with The Wee Review, Anna Devin talked about moving from playing children to adult roles. There’s still much of the child in her Zerlina, albeit one who has moved from playing with dolls to men’s hearts. Her manipulation of Barnaby Rea’s Masseto is a wonderful mixture of innocence and sauciness.
Ed Lyon imbues the Don Ottavio, a character as wet as a Venetian canal, with real emotion and Anita Watson’s Donna Anna sketches the pain of her father’s loss with her beautiful coloratura voice. The most complex character is Donna Elvira – moving between wounded pride, passion and a belief in her ability to change her wicked lover. Lisa Milne gives an astonishing performance in the role and vocally captures the intensity and depth of her emotions. This production feels fresh and nimble and with the playfulness we’ve come to expect from Thomas Allen’s work with the company. It’s a fine start to their new season and as the old ad slogan used to say – it’s naughty but nice.