Naughty Marietta Spoiler Free Review

Naughty Marietta - 3.5 out of 5 stars
SA Light Opera Society
TICKETS: https://www.trybooking.com/au/event/1573062

From its first performance at the Wieting Opera House in 1910, Naughty Marietta was a hit. Widely regarded as one of the most beloved examples of early 20th Century American operetta, audiences loved the work prepared by Rida Johnson Young (Libretto) and Victor Herbert (Music) so much that it eventually spawned a film adaptation in 1935 starring Jeanette MacDonald and Nelson Eddy.

The story is set in 18th Century New Orleans and centres on the character of Marietta D’Altena, an Italian countess who flees an arranged marriage by disguising herself as a casquette girl and vowing to only marry the man who can complete the “Dream Melody” that haunts her. Upon arriving in the French colony she meets Captain Warrington, an American ranger hunting the pirate Bras Pique and the fun of romantic banter, adventure and intrigue continue from there.

First time Director Tegan Muller has created a simple but powerful set design that draws the audience quickly into the performance. She has added some of her own touches to the timeless classic, which like an artist adding a few extra brush strokes, enhances the final piece. With her costume assistants, including the recently departed SALOS royalty Pam Tucker, Tegan has filled the stage with a colourful and era appropriate range of characters. An important challenge, as several cast members filled varying roles and had to be able to be easily identified as such. In addition, the choreography was both simple, but highly effective.

Likewise, MD Gay Wood, also a first timer to the role, can be proud of the way that her cast have negotiated the notoriously difficult time changes and off beat entries that range throughout the libretto. Her 9-piece orchestra provided a robust backing to the performance, but one that at times during the second act overpowered the voices of several soloists during their choruses. This is however a risk that one runs when not utilising microphones with the cast.

Despite being late to rise in the start of the second Act, the lighting was in general quite complementary to the staging, for example the use of subtle red shading during the gambling scene.

Shaun Helbig (Etienne) commanded attention from the moment that he strode onto the stage, with a confident portrayal of the duplicitous Etienne.

Likewise, Carmine Clark (Adah), Peter Muller (Sir Harry Blake) and Cherian Philipose (Florenz) delivered strong performances in their respective roles.

In the titular role that was described by Emma Trentini, the first to sing it, as being more taxing than the title role in Aida, Eliza Fulwood (Marietta) performed admirably. The music is challenging and she combined her strong vocal control flawlessly with strong characterisation and stage presence.

Noel Carthew reprises a role that he first played 47 years ago with Mayfair, slipping effortlessly into the role again. In fact, one might say that he put off his best performance, “by and by” at that time to deliver it in this rendition.

Christian Pollnitz (Captain Dick Warrington) provided a solid performance and should be commended along with Eliza Fullwood for continuing so strongly with their performance through the annoyance of that most dreaded invader of theatres, the rogue mobile phone. Indeed, one of the musical highlights of the evening was when they combined with Clarke, Helbig and the Chorus to sing “Live for Today”.

Vincent Fameli (Rudolfo) and Sandra Fameli (Graziella) utilised their off-stage chemistry to great comedic effect when interacting together. Likewise, Eleanor Tuffy (Felice), Fiona Doroch (Fanchon) and Ailsa Kerr (Nanette) confidently delivered their lines and provided a solid support to the main characters in all of the scenes that they were involved in.

Special mentions must be reserved for both Emily Rawlins (Lizette) and Chithranjan Raj Elumalai (Silas) for both stealing every scene that their characters entered into. Both individually and together the vivaciousness and energy of their characters always left the audience wanting more.

Despite the occasional bung note here and there, all of which can easily be attributed to opening night nerves, the supporting chorus all displayed the confidence to provide good vocal performances as well.

Notwithstanding its running time of around 3 hours, the time travelled quickly due to the overall performances of the cast.

So, in conclusion, “Live for Today” and “Tramp, tramp, tramp along the highway..” to the Tower Arts Centre and enjoy an evening of laughs and fine theatre. It is only running for this weekend so make sure that you don’t miss it!

- Brendan Watts