David Benedict on theatre
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Andrew Lloyd Webber longs to be taken seriously. Alas, the powers that be won't play ball, although the reviews for his latest show, By Jeeves, should have cheered him up. Meantime, he's hard at work on his next show, that little-known Hollywood property, A Star is Born. Picture that publicity machine wheezing back to life as successive casts throw up yet more names poised for "overnight" stardom.
The man charged with injecting life into the production, aka the director, is Steven Pimlott, something of a specialist in large-scale music theatre with Carmen at Earl's Court, Sunday in the Park with George at the National and the recent smash revival of Joseph... to his credit.
He also had the dubious pleasure of opening Dennis Marks's regime at ENO. As you would expect with his theatre credentials, his 1994 production of La boheme was no canary-fanciers' night out. His production genuinely qualifies as theatre, and watching the revival is a real pleasure and not just for opera-lovers. Pimlott's fingerprints are all over it, partly thanks to his regular collaborators. Hugh Vanstone's sharply etched sculptural lighting creates interiors and exteriors from Tobias Hoheisel's single set, which moves from a chilly loft in the 1950s to the action-packed cafe.
It is the latter which really shows off the strengths of the production (below). Alive with detail, helped by a punchy Jeremy Sams translation, it is a tremendously animated crowd scene from start to finish. For once, there is none of that ghastly generalised chorus acting. Among the (excellent) principals, Roberto Salvatori as Marcello and Rebecca Caine as Musetta run away with the evening, not just through powerfully focused singing, but their vibrant characterisations. Together with Alex Ingram's marvellous conducting, it's a great night out.
ENO, London WC2 (0171-632 8300)
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments