From August 21st to 25th, Highlands Opera Studio (HOS) presented The Merry Widow at the Northern Lights Performing Arts Pavilion in Haliburton, Ontario.
Coincidentally, cottage country and The Merry Widow have been inextricably linked in my childhood memories – rainy days were when my siblings and I were allowed to play my parents’ records at our family cottage in Haliburton County. My go-to choice was a nine-LP set produced by Reader’s Digest entitled Treasury of Great Operetta, which included a fascinating black-and-white booklet with photos of various operettas. My favourite shot was of a bedazzled Anna Moffo in The Merry Widow, and I listened to that particular record ad nauseum. I was besotted with Franz Lehár’s gorgeous music, a love affair which lasted until adulthood and resulted in me seeing many productions of the operetta, including one at the Metropolitan Opera. Would my lifelong liaison with Lehár end in heartbreak in rural Ontario?
If you went expecting a lavish production, you would have been disappointed. The sets were a few interchangeable benches, tables, chairs and a chaise while the costumes were equally unremarkable with the exception of the widow’s elegant black ball gowns. What saved the day visually were Brenden Friesen’s sumptuous background projections.
Not only was the set pared down, but director Richard Margison made substantial cuts to the libretto and music. The entire production ran under two hours – and that included a 20-minute intermission. Gone were the large dance numbers in Act Two, and multitudinous can-canning grisettes were played by one performer singing an abridged version of “Yes, we are the Grisettes.” The English dialogue was short, sweet and to the point, and the story stuck to the original plot: will the rich widow marry her former lover and keep all her money in the cash-strapped country of Pontevedro?
Cast one featured Emily Rocha as Hannah Glawari. Rocha has a velvety tone and adept phrasing which made her “Vilja” a show-stopper. She is a beautiful and subtle actress who adeptly represented the conniving yet vulnerable side of her character. Rocha was paired with George Theodorakopoulos, a compelling Danilo with powerful stage presence and a rich baritone voice. Theodorakopoulus’s strong facial structure, which enhances his resonance as well as his charismatic delivery, will make him a rising star to watch. Together, Rocha and Theodorakopoulus had great stage chemistry.
Maeve Palmer was a charming Valencienne, a humorous coquette who joyfully sang and danced her way through the operetta. Her agile voice sparkled in this demanding role. Spencer VanDellen was her perfect foil as Camille de Rosillon. VanDellen has great comic timing, and his duets and solos were well sung. His light lyric tenor never sounds forced and listeners felt completely comfortable as his voice wrapped around them like a warm security blanket.
Photo Credit: Brenden Friesen
George Theodorakopoulos (Danilo) and Emily Rocha (Hannah) in The Merry Widow
The second cast brought their own unique flavour to the story. Chelsea Kolic was a charismatic widow with striking dark looks. Her lower register was sumptuous, while her top notes were thrilling to hear. Her lover Danilo was played by Rodolfo Ituarte, a strong baritone whose musicality possessed his entire body. Not only was Ituarte a fine singer, but he is a skilled comic and agile dancer whose joie de vivre made him a joy to watch.
Olivia LaPointe was a gorgeous Valencienne with a warm, melodic voice and perfect diction. She easily transitioned from a coy wife to a vibrant solo grisette. Patricia Yates was an effective Camille de Rosillon whose emotive female tenor voice is always a sensual delight. Her acting was so convincing that the audience could be heard “awwing” in support of her unlucky-in-love character.
Artists who were in both casts made a well-rounded ensemble. Tenor Ryan Nauta displayed sparkling vocal prowess with clear tonality, and he embraced the comedic St. Brioche character with panache. He was a scene stealer with his hand flapping, Hercule Poirot-like over-the-top acting. Neil Hong was another strong singer with excellent diction and a flair for comedy. Together, Hong and Nauta’s onstage antics were worth the price of admission. Ella Jeon was a charming Olga Kromov, and her rich lower tones added much to the small chorus.
Given the chorus was comprised of just the leads, timing, diction and precise pitch were important from all the singers. Local actor Doug Tindal was an eloquently acted and very funny Baron Zeta who also enthusiastically sang and danced in the male chorus line. Another local, Ruth Carter, was a hilarious and much put upon Njegus. Carter and Tindal’s entertaining interactions moved the plot along at a healthy pace. And, finally, special mention should go to cottager and supernumerary Glenn Koehler who, night after night, pursued both widows to absolutely no avail.
The cast – who varied widely in age and experience – were led by a female musical dream team. Pianists Suzy Smith and Christine Bae both had the manual dexterity and the emotive playing necessary to get the most out of Lehár’s demanding score, while Kamna Gupta conducted with exuberance and precision.
Did this production live up to my childhood fantasies? It certainly did not have the lavishness and hordes of choristers and dancers of other productions I have seen. What it did have were the colourful characters and breathtaking score created by Franz Lehár and a talented young cast who clearly enjoyed what they were doing. And it had director Margison who possessed the creativity and nerve to produce his own delightful Reader’s Digest version of The Merry Widow.
Photo Credit: Brenden Friesen
Spencer VanDellen and Maeve Palmer as Camille and Valencienne in Highlands Opera Studio’s The Merry Widow
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