FREDERICA, Avalon L.O.S., Stanley Hall, South Norwood, London, 28 April 1979.

My impression of this was that it must definitely be one of Lehar's minor operas. In its English version it has evidently been considerably altered, and equally evidently not for the best. I am unfamiliar with the original score, but Bernard Grun in his biography of Lehar makes it clear that it was one long melée of sumptuous and luscious melody with a minimum of story line and dialogue. Goethe (a part tailor made for Richard Tauber) had no fewer than seven songs all to himself; in this version he had only four. Also, in this version (incomprehensibly adapted by Grun himself, what did he think he was doing?) I was conscious of only one real "pop" song, the justly famous "O Maiden, my maiden" (reprised ad nauseam). If this is the only available English version, I can quite see why the opera is not done more often. The plot concerns an early love affair of the poet Goethe with a village maiden, whom he is eventually compelled to leave to an eternal maidenhood. The plot is slight, and comedy singularly lacking, most of the ham-fisted attempts at comedy originate with the ridiculous and quite irrelevant character of the failed student Ludwig (surely this role can't be in the original?). Clyde Davids as Goethe, as usual was romantic and sweet-voiced, and in spite of what seemed to be a cold, stole all the honours of the evening; on him the success of the piece largely depended. To be fair to the rest of the cast, however, most of the other male roles in the play were small and singularly thankless. Mr. Davids' make-up, however, seemed rather dark, and gave him an almost Turkish air. Terry Shepherd tried hard with Ludwig; his dialogue was good, but when he sang he was practically inaudible. Sue Davids was suitably flighty and vivacious as Frederica's younger sister, but seemed not all that different from her role in Magyar Melody. As Frederica, Hazel Bonham sang sweetly. Heather James as the domineering Aunt Hortense acted excellently (the role is non-singing). Dinah Malnick's production and Tony Bumby's choreography seemed efficient, but curiously conventional and frankly a bit dull. All in all it was a pleasant evening, but not as good a show as the last two I have seen Avalon do, and an opportunity to see an interesting operetta, but not one which I am in a tearing hurry to see again. MICHAEL WALTERS

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