Stiletto

In this lavish and gorgeous looking romp through Venetian society and the serious subject of creating castrato operatic stars could be an interesting approach for a musical, something akin to Phantom of the Opera, but this falls woefully short.

It feels like there could be a good production in there somewhere. but it is overblown with a score and songs that give little variety or character development. Every song and character seem to be at the peak of the angst the moment we first meet them, so there is little room for journey and songs very rarely allow the performers the opportunity for heart felt emotions as they blast out one torch-song after another.

Tim Luscombe’s book is hampered by having to deal with so many characters and sub plots that drag us away from what could have been a tender love triangle. And it is such a shame because the character of Gioia played and sung beautifully by newcomer Jewelle Hutchinson was underused and felt almost forgotten. Jack Chambers as Marco Borroni carries all the petulance of the castrato star. However, then to find him instantly give up the gay relationship and tutorage of Faustino played by Greg Barnett to support, love and nurture Giola, whilst fending of the sexual advances of his patron the countess Azurra, played with relish by Kelly Hampson, seemed too much of a leap of believability even in a musical.

There is also a dramatic imbalance between the overtly innuendo ridden lyrics and the grandness of the music. It is such a shame because the vocals and the performers are all excellent and make every effort to convince. Their talent and that of the orchestra, set, lighting and sumptuous costumes make the evening worth it. But as a new musical it is lacking. Ironically this is a production that is too ballsy and needed much more light and shade and a trimming down of the plot to give it true heart.


Photo credit: Johan Persson