Going to Hell has never been such fun. Riotous and exuberant this is a bright, colourful production that will have you clapping and tapping along.
The ‘traditional’ Orpheus and Eurydice legend is told, but is updated and Australianised by Jonathan Biggins and Phillip Scott with a twist. Did Pluto organise Eurydice’s death?
Boredom and revolution in Olympus are here used as a platform for social comment. The opening curtain – red and gold with scalloped footlights and movie-like title – hints stylistically at what we are to expect. Under the glittering direction of Jonathan Biggins this production is fast paced, smooth and in parts risqué. It is sort of French Gilbert and Sullivan shaken and stirred with bits of Sondheim’s ‘ A Funny Thing Happened on the Way to the Forum’ and the naughty Carry On movies. ( Plus ‘Grease’, Elvis and other musicals – and Gluck’s opera among other things ).
There are groan-worthy jokes, plenty of marvellous special effects , sight gags , fireworks and a couple of very explosive, spectacular entrances .
Andrew Brundson as a rather foolish Orpheus is terrific with a way OTT 1950’s bouffant like quiff that needs a mention in the cast list by itself. He is excellent as the disappointed husband with a golden violin, very expressive face and great comic timing .
It is Rachel Durkin as Eurydice however ,who steals the show. Exquisitely tall, blonde and leggy she has a whale of a time being delightfully naughty. She is petulant and spoilt (and can’t stand Orpheus ) on Earth and terribly bored in Hades after a couple of days. Her aria in Hades in the bubble bath where she complains of being bored is a huge show stopper and her comic flirtation duet with Jupiter as a fly in Act 2 is glorious.
Todd McKenney as Aristeaus/Pluto is tremendous. As the bee keeper Aristeaus he has a great witty somewhat risque solo ( bucolic lambs and such like – very Ashton ‘ Daphnis and Chloe ‘ or ‘ La Fille Mal Gardee’ like – but with a satiric twist ).Once his disguise is unmasked and he is revealed as Pluto he is dashing , charismatic and captivating , in fine voice and he leads the dancing magnificently.
Lecherous Jupiter, father of the various gods, was excellently portrayed by Christopher Hillier, tall and commanding in gold and white when required and delightfully silly in disguise as Louie The Fly when seducing Eurydice.
Suzanne Johnston as Public Opinion in yellow and newsprint ( a cross between Pauline Hanson and Julia Gillard?) is presented in a somewhat Brechtian style. Are we meant to think of the spectacular Sun/Emperor in Murphy’s TURANDOT when she is wheeled on at one point to confront Orpheus, towering above everyone?
There is a splendid solo for Jupiter’s daughter Diana ( Jane Ede ) , in a stunning blue dress, who laments the loss of Acteon. And Cupid ( Katherine Wiles ) is delightfully played as a sort of cheeky punk Goth angel/fairy . Mitchell Butel as John Styx , Pluto’s lecherous, deathless servant , is magnificent. He is tall, green and Ent like in a coat with oversize epaulets and is a wonderful tool for lots of local government satire and other political comment.
Special mention must also be made of the spectacular entrance and great performance of Stephen Smith as the buoyant, exuberant Mercury dressed in red and white.
Offenbach’s lilting, lyrical music was wonderfully played by the Australian Opera and Ballet orchestra under the scintillating direction of Andrew Greene.
Amber Hobson’s choreography is strong and works extremely well with very efficient handling of the huge ensemble numbers. The party in Act 2 which Pluto throws that includes the famous ‘can can’ sure is a huge, writhing , indulgent, hot and steamy orgy!
Frothy and enchanting like French champagne this could be a terrific introduction to opera for first timers , while more knowledgeable opera fans will joyfully succumb to Pluto’s wicked ways. Be there or be square !
The show’s running time is 2 hrs 15mins (approx) including one interval
ORPHEUS IN THE UNDERWORLD is playing in rep on various dates during March at the Concert Hall, Sydney Opera House
(c) Lynne Lancaster
17th March, 2013
