This summer, Scottish Opera, in collaboration with D’Oyly Carte, presented Lehár’s The Merry Widow, an early 20th-century operetta that tells the tale of the effervescent widow ‘Hanna Glawari’ and her past lover ‘Danilo’, who find themselves crossing paths again and receiving a second chance at love. John Savournin (Director) presents us with an adapted retelling, replacing the original Pontevedrian Parisians with money-motivated mafia men of 1950s New York.
From the moment the orchestra begin, the audience were immediately plunged into Savournin’s red-lipsticked, bloodstained mafia world, through a projector screen displaying the title in the style of a black-and-white old Hollywood movie introduction. Visual commitment to Savournin’s retelling remained cohesive and noteworthy throughout, with the visual crème de la crème lying in the costuming (by takis). To name just one of the many costume highlights, the loose-fitting pin-striped suits of the mafia served to emanate a uniform, thus communicating the law-like constructs of gangster life. Furthermore, takis’ consideration of individual character was evident. This was seen in Danilo’s suit holding a subtle contrast to the majority, being green instead of blue. This established Danilo as a character of significant importance, and as a man who does not quite adhere to the ‘rules’ of gangster life as religiously as those around him.
Musically, the performance was exceptional. The orchestra, conducted in the capable hands of Stuart Stratford, filled the theatre with enchanting renditions of Lehár’s score. Notably, the operetta includes the number of ‘Viljia’, a widely loved and well-known piece that carries a challenge to rise to its formidable legacy. Neither the orchestra of Scottish Opera, nor Paula Sides’ floating vocals disappointed – one could feel the unanimous smiles and soft swaying among the audience as we were led through the nostalgic melody. Furthermore, Side included opt-ups in her interpretation that were not only delivered with zest and emotion but ensured that the often-sung piece was kept fresh and engaging.
Overall, Savournin’s adaptation was successful, fresh, and visually cohesive. One consideration when approaching this adaption is that some jokes demanded an understanding of the film culture surrounding iconic gangsters, and those not conversant with the cinematic greats of Coppola and Scorsese may be unable to appreciate these references. Despite this, the production remained a sparkling, vibrant and imaginative retelling of a beloved tale, and I left the theatre feeling as merry as the widow herself.
Image by Mihaela Bodlovic courtesy of Scottish Opera