Leonard Bernstein is best known for composing the musical “West Side Story”. Yet, whilst working on this score, he was simultaneously working on another musical, “Candide” which has just opened in a new production by Opera Australia at the Sydney Opera House, NSW Australia.
The music is, well, very Bernstein you might say. Lots of rhythm changes and bits and pieces liberally influenced by past composers. Gershwin, Copeland, Schoenberg. The final song “Make our Garden Grow” seemingly contains the same notes in a different order as the finale to Stravinsky’s Firebird.
The story has an incredible history based on a novella by none other than Voltaire back in the 1700s. It was written as a satire where the young Candide, his crush the beautiful Cunegonde (pronounced coon-er-gon-der) and her brother are being raised in a castle of Cunegonde’s father, a Baron.
Here, they are educated by an eternally optimistic philosopher Dr Pangloss. He teaches them to believe they are living in “the best of all possible worlds” and that all happenings – be they positive or negative – can be viewed as being “all for the best”.
A turn of events ousts Candide from this isolated little paradise. Soon, the castle is destroyed in war with all the characters going missing and assumed dead. Candide sets out on a journey which takes him across Europe, South America and back again. He is easily scammed over and over again, witnesses the worst examples of human cruelty and catastrophic natural disasters the world can offer. All the while, Candide desperately clings to his teacher’s philosophy, trying to find some inkling of it being “all for the best”.
The characters from the original castle disappear and appear again. Keeping the cast small means some performers reappear in a new costume as another character adding to the comedy.
Production team
Over the years, many alterations have chopped and changed the work around so, the consistency can be a little varied through the scenes. However, full kudos must go to Director Dean Bryant for this bold and memorable interpretation that is bound to last for many years to come. Wading through a myriad of countries and chaotic events, Bryant added much needed clarity to the progression of the journey. Broad Australian accents and clear cut visual comedy had the audience chuckling all night.
Choreographer Freya List was spot on, absolutely perfect for an all-singing cast keeping it relevant, up to date and fun. Set design by Dann Barber made use of a literal caravan to take us on the journey across the world with flags flying, low budget “scenery” and a make shift cat walk. The string of cities visited accumulate as signs on hooks below each other. This was a brilliant move making the journey more easy to follow. Only one moment that might have been nice in an alternate version would be to have the original castle represented as a Utopia in stark contrast to the rest of the story. Other than that, the fast changing scenes were well coordinated and varied enough to differentiate one place from the next. The ghoulish looking chorus were frequently displayed like puppets on two long diagonal lines zig zagging up the back drop making a visual representation of a truly crooked world.
Barber’s costume design was absolutely superb drawing from the story’s 18th Century origins but adding the grunge of dirt and decay to reflect the lack of morals of the vast majority of the characters.
Lighting Design by Matthew Scott worked perfectly spotlighting the action and never holding back on hiding the macabre scenes. Sound Design by Samuel Moxham levelled out the varied strength of voices. Only one improvement would be refining each voice in the quartet before the end of Act I.
Conductor Brett Weymark is most often seen directing the vast Sydney Philharmonia Choirs in more stoic pieces of music. Grappling with the very complicated Bernstein score, Weymark did a stellar job bringing orchestra and cast together. His version of the overture was best the writer has every heard using steady, spacious tempi which allowed full appreciation of all the instrumental parts in this genius writing.
Casting the roles
The casting was brilliant, just a superb dream team.
In the title role of Candide was Victorian tenor Lyndon Watts recently featured in the extended Australian season of Hamilton. Not sure if he convinced us he was in love with the girl, however, he has a refined, light voice perfect for contemporary musicals. His movements were elegant and dramatic skills made for clear story telling – much needed in a whirlwind story such as this. It’s a mammoth role to play and he is on stage the vast majority of more than two hours’ performance. Watts has grasped this role with both hands and is squeezing out every inkling of glee. He is bound to grow a following in the Musical Theatre world. Watch out, you’re bound to see him in many more shows to come.
In the roles of Voltaire (the original author) as Narrator and Dr Pangloss the eternal optimist philosopher is musical personality Eddie Perfect. He has a style which is unique amongst the cast, boldly throwing in witticisms in the local vernacular which had the audience laughing. I’m sure he’s the kind of artist who will continue to play and develop this further as the season progresses. He’ll be keeping all the rest of the cast on their toes and adding more entertainment to each performance.
Coloratura soprano Annie Aitken took the role of leading lady Cunegonde. She is well familiar with the material since playing the role in 2018 opposite Alexander Lewis. “Glitter and be Gay” is one of the best known songs from the musical and Aitken romped through this in a world class performance. Choreographer List and Director Bryant made this number a true work of art which got the longest applause from an ecstatic audience. Let’s nurture and care for this very special artist so she may enjoy a long career.
Annie Aitken showreel featuring excerpts from Candide’s hit, “Glitter and be Gay”.
A long standing favourite with Opera Australia audiences is Mezzo Soprano Dominica Matthews in the role of The Old Lady. This is a bold character with oodles of opportunity to add comedy, along with a little tango, which Matthews handled well. Newcomer to the company, bringing with him many years of experience is Base, Eddie Muliaumaseali’i in the role of Cacambo.
Another Melbourne artist, Evan Fistrovic Doidge played Cunegonde’s brother, Maximilian. When the musical first hit the boards in the 1950’s it would have been hilarious seeing a man, thinly disguised as a woman, being courted by a straight man. With the changing world, this joke has fallen flat. We see guys in dresses all the time now. Director Bryant reimagined the scene with Maximilian thriving in this disguise, so to speak. Fistrovic Doidge did a brilliant job of creating a character everybody loved. Soprano Cathy-Di Zhang played the role of Paquette, Andrew Moran as Martin whilst John Longmuir, fresh from his leading role in The Barber of Seville was kept busy with costume changes in a range of characters making good use of a his comedic skills and lovely tenor voice.
Summing up, this has got to be one of the best new productions seen in years. The talented cast and production team have worked their magic to make clear what is traditionally a very confusing and busy storyline.
Is it a family show? No. It makes light of slavery, war, prostitution, execution, decapitation, cannibalism, murder and rape. Best to leave the kids with a babysitter for this one. Highly recommended for every one else.
Reserve your tickets early as this is a short season.
Credits
Conductor: Brett Weymark
Cast
Candide – Lyndon Watts
Voltaire (Narrator) / Pangloss – Eddie Perfect
Cunegonde – Annie Aitken
Old Lady – Dominica Matthews
Cacambo – Eddie Muliaumaseali’i
Maximilian – Yuan Fistrovic Doidge
Paquette – Cathy-Di Zhang
Governor / Vanderdendur – John Langmuir
Martin – Andrew Moran
Production
Director – Dean Bryant
Sets and Costume Design – Dann Barber
Lighting Design – Matthew Scott
Sound Design – Samuel Moxham
Choreographer – Freya List
Assistant Director – Miranda Middleton
Related Links
Tickets for Candide at Opera Australia – https://opera.org.au/productions/candide-sydney/
