THEATRE REVIEW: Candide - Venue Cymru, Llandudno.

'Candide' is an opera bouffe from the genius that was Leonard Bernstein. Based on the writings of Voltaire, this 2 hour+ spectacle puts Bernstein's own individual spin on this tale of love, war, tragedy, and travel. However, when the programme notes quite clearly tell us that many other composers and writers have had a wee hand in the eventual outcomes of this opera, and that there are currently 5 separate and completely different versions of the score to chose from... how do we know which one we are getting and whether or not it is the one closest to Bernstein's own ideas. Having seen the wonderful televised anniversary production of this attended by Bernstein himself, I can honestly say that this production was not that version!

With The Welsh National Opera Company (WNO), you know that the quality of the singing will never be in question, and this evening was absolutely no exception. A solid and full choral sound from the smaller than usual ensemble, helped create a soundboard for the excellent principals to show off their skills. Ed Lyon's Candide was simply sublime, with a mastery of vocal control. 

This was however, a rather odd production. Starting with a long narration straight to and acknowledging the audience, admitting that they are actors performing a story. The narrator turns out to be a female Dr. Pangloss (Gillian Bevan). But the narration slows the show down, and, despite it providing us with a few comedy gems, does nothing to further the story, or help us engage with it. In fact, it gets in the way.

The WNO orchestra was positioned at the rear of the stage, and not, as one normally would find, in the pit. I am uncertain as to the reasoning behind this, as they seemed only to take up possible performance space rather than be a part of the performance... something which one would expect if musicians are on stage with the actors.

In front of the orchestra, a thin gauze curtain upon which cartoon animations were created continuously throughout the performance. (Gregoire Pont). These were not in addition to the set, but in place of it. The only other set items being three large sets of steps on wheels to allow for different levels. The drawings were of a naive variety, cartoonesque, and were obviously meant to be a part of the production and our experience thereof, however, after a while they became both boring and predictable, and I was longing for something else. 

The costuming too was a strange affair. (Sian Price). The cast wore a complete mix of styles' some with uber contemporary overtones such as a man in a tiny tartan mini-skirt; whilst others were in 17th century wigs and frock coats, or bodices and boots. Mostly however the costuming opted for a more contemporary feel, and the correct contemporaneous additions were more of an acknowledgement of era than anything else. 

Sound levels were good throughout, but the lighting design was sadly not. There were many instances throughout when principals' faces were cast in either semi or total darkness when they were singing, and the overall brightness levels of the stage when supposedly fully lit were still somewhat dark. Was this due to having to make sure the animations could still be seen perhaps?

An interesting production of a work that is rarely tackled these days. James Bonas (director) obviously creating a fantasy world of his own with great skill. A little long-winded and samey though for this particular reviewer.

Reviewer - Matthew Dougall
on - 5.7.23