No 41 -- Spring 1993 Edited by Michael Walters
I have always felt that Offenbach was at his best in the earlier one–act works. His full length operettas for me leave a certain void. LA VIE PARISIENNE is a boring story, dressed up with pretty but unsubstantial music (after having seen the show several times there is not a single tune that sticks in my memory), and requiring a cast of scintillating and loveable personalities to make it come to life. This it almost got in this production, but not quite. The set, designed by producer Cecil Hayter, was sumptuous, except for the two centre doors in Raoul's house, which refused to open and close properly. Another complaint was bad masking at the sides. From my seat at the side near the front I could clearly see stage hands walking backwards and forwards in the wings.
It was a new translation of the piece, by Terry Hawes, but I have to confess that the diction, particularly in the patter music, was not all it might have been, and I had some trouble hearing all the lyrics. Raoul received a very good performance from the charming and ever reliable Andrew Field (sensibly covering his baldness with a wig), but, as Bobinet, Adrian Cave was rather heavy on the posing and short on the charm. John Baker and Julia Popple were splendid as the Baron and Baroness. Neville Filar was a disappointment as Brazil, low on volume and subdued in manner. By contrast Juliet McCoig overacted hideously as Gabrielle. John Dervish in his first solo part, was rather sweet as Frick. In spite of obvious inexperience, here was someone one could really care about. There were good cameos from Allan Girdlestone and particularly, from Francis Macura, as servants. MICHAEL WALTERS
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