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AMATEUR THEATRE REVIEW: The Merry Widow – Chester Operatic Society
AMATEUR THEATRE REVIEW: The Merry Widow – Chester Operatic Society
“Lolo, Dodo, Jou-Jou, Clo-Clo, Margot, Frou-Frou!” I have been singing those names ever since I saw this operetta!
The glamour and elegance of this show was obvious right from the moment you stepped into the Chester Town Hall, where the performance took place. When the Musical Director, Jan Hutchings and the Orchestra (Caroline Morris on the clarinet, Emma Stevens on the flute, Tom Lane on the trumpet, Margaret Corlett on the piano, Ali Dale on percussion and Mark Lansom on the violin), walked in, a round of applause began and I thought to myself ‘I am at a proper opera show!’ They instantly changed the atmosphere, preparing us for the courtly night ahead. Their professionalism and talent shone throughout with each musical number.
The town hall was an inspired setting, decorated relatively simply but effectively with floor lighting, various individual light bulbs on stands, tables covered with a black sheet (adorned with snacks, thank you very much!) and chairs around the stage, which extended to the centre of the hall. This gave the immersive experience that the Director, Ann Marie McMahon, was keen to have, which was further emphasised by cast members interacting with the audience - we were all invited to the parties! Although perhaps feeling slightly underdressed as the outfits were impeccable. Everyone on stage was serving good old fashioned glitz and glam; the creative decisions made about the costumes were perfect!
The Merry Widow (Die lustige Witwe) was adapted from an 1861 play and Hungarian composer Franz Lehár was asked to write the music. After a rocky beginning, it made its debut in 1905, and here we are in 2025, a whole 120 years later and this operetta continues to entice societies into putting their stamp on it. Let it be noted this production was the English adaptation; I think it would be quite an ask to learn the original language version in the short time societies have to put together a performance!
Set in Paris, a gala is being held at the Pontevedrian embassy in Paris but the party atmosphere is tinged with worry from Baron Zeta, played with brilliant exuberance by David Whitley, because the recently widowed Anna, played with grace and poise by Louise Ellinson, has inherited a substantial amount of money from her late husband and he needs her not to marry a Frenchman because all that money will be lost and Pontevedro needs it!
He sends for his fellow countryman, Count Danilo, played with smooth charm by Simon Miles, to come and woo Anna so she chooses to marry him. However, we the audience are let in on the secret that Danilo and Anna already have history. Danilo refuses the Baron’s request but has an acceptable compromise. Throw in the side plot of Baron Zeta’s wife, Valencienne, played by Jess Borland with great vivacious energy, being pursued by Camille, who Matthew Pace played with great accuracy as the infatuated young would-be lover; the plotting to marry Anna, played with a perfectly comedic dastardliness by Tom Drury (St. Brioche) and Will Shaw (Cascada), and with the rest of the supporting cast and ensemble, you have all the ingredients for an entertaining story!
As the cast and ensemble filtered onto stage, kicked off by our very own energetic AMT Productions’ dancers dressed as maids, the colour choices were deliberate so that key characters stood out. Amongst the blacks, blues and purples, Valencienne emerged in a wonderfully sparkling bronze dress which twinkled under the lights, perhaps giving us a hint of the upcoming flirtatious interactions with Camille.
Similarly, when Anna first arrives, the anticipation and buzz already created, she did not disappoint. The red gown and the confident entrance all reinforced that she was an important person. As the only one wearing full red for the first act, this could also have been signifying the decision she has to make about the man she marries will have massive repercussions and as such, in all red, she is someone to be revered and feared in equal measure, at least in the eyes of Baron Zeta!
In act two, the leading ladies wear a similar outfit to each other, both at a sort of crossroads where the decisions they make will have consequences. Then leading up to and in the finale, Anna is in the glitzy sparkling dress and having chosen her marriage companion, she is no longer the threat. Valencienne is now in red but amongst other cast also dressed head to toe in red therefore the power and danger of the red is taken away. Perhaps this symbolised how Valencienne, having warded off Camille’s advances, and being the ‘respectable wife’ now no longer needs to stand out from the crowd, but let's not get it twisted, she still looks fabulous in red!
I must give a shout out to Anna Morris taking on the usually male role of Njegus. Her deadpan delivery, keeper of secrets whilst attending to the Baron’s every beck and call drew many a laugh. I also enjoyed the dynamic between Mark Traynor as Kormov, the paranoid jealous husband of Olga, played by Lorna Kettle. There may have been rumours about Olga but nothing proven, though when a scandalous fan turns up, she is a person of interest!
Some of my highlights included the aforementioned “Grisettes’ Song”; I seriously can’t stop singing it! The “Women! Women! Women!” sequence where six of the main male cast sang whilst performing chair choreography. And when we thought they were done, smatterings of clapping heard, we got an encore with even more chair choreography! I was impressed that everyone sat on the right chair and facing the right way - it made for a satisfying symmetrical performance!
Another point I feel I must raise about this production was the level of vocal ability of the entire cast, as a whole the society are vocally strong with fantastic harmonies and superb vocal ability, combine this with the principle vocals of Jessica Boland, Louise Ellinson, David Whitley, Matthew Pace and Simon Miles and you had an unstoppable vocal performance.
Jim Draper and Patrick McMahon were responsible for the set but given the size of the hall, it was quite stripped back, so Gavin Carr, in charge of lighting, helped in creating the mood. The warm inviting colours in the gala hall, with flags of red and gold on the stage said ‘civilised gathering’. When the party moved to Anna’s home, a red and gold ‘Maxim’s’ sign replaced the flags, the lighting had a purple hue, with a lighting effect that gave the illusion of a glitterball. Creating the outdoors with a simple outdoor table and chairs and then a bench and small shed had me picturing the greenery surrounding everyone so simple really works!
When the cast came together for the waltz and other dancing sequences in hold, it felt like we were at the Strictly ballroom. Danilo and Anna in particular had two waltz dancing moments with no one else on stage, a very exposing way to perform but they danced beautifully together, a pleasure to watch! And no feet were stepped in so that’s a bonus!
When the dancers returned to stage as cancan girls, the party truly started. With Valencienne joining them under the purple lighting, all singing and dancing, bringing us high spirits, high kicks and impressive splits, I watched with enjoyment, and delusions that I could join them! Never been to a cancan but I felt like I was at one, brilliantly executed and the perfect way to wake that one person that has fallen asleep as it is past their bedtime, wouldn’t want them missing the conclusion to the story! Also loved how after everyone but the cancan girls and Danilo left stage, they rushed him, all vying for his attention, and him showing us just how well his charm works! I chuckled at the jealousy the girls had for Anna as she came over to speak to Danilo!
I watched this operetta through new eyes, not even reading up about it beforehand and I can say it was a pleasure to be taken to an era of entertainment I never existed in but felt like I was a part of for a couple of hours. It was like those Hollywood films from the golden age where the men were smartly dressed and the women full of glamour; the leading man and woman had great chemistry; the soundtrack so nostalgic to the time period; the style of singing so unique and everyone had intentions that played out with twists, turns and misunderstandings that led to wonderfully comedic sequences and satisfying conclusions. This is the experience I felt this night; like I was watching a live action black and white film, getting a peek into the lives and drama of the aristocracy! All that remains to be said is, bravo to you Chester Operatic Society!
Reviewer: Bwalya Mutale - Kibaris – AMT Productions
Date: 30.06.2025
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Bwalya Mutale-Kibaris
Bwalya Mutale-Kibaris has always enjoyed writing, whether it be fictional stories, the first 10 pages of a script or book, or writing reviews for random brochures back in her university days! Bwalya loves putting words together to create something that is hopefully informative, engaging or at the very least, easy to read and understand! She is grateful to AMT Productions for giving her the opportunity to write a review for a play in 2024. This was a rewarding learning experience that Bwalya will take with her to all future ventures as she plans to fill much of her time writing with the hope of leaving readers suitably entertained.
Rebecca Topping
Rebecca Topping studied Drama at Queen Mary University of London and has been writing and producing plays professionally for over 10 years. She has experience of performing and directing on London’s West End and is currently teaching Comedy and Drama for the Pauline Quirke Academy of Performing Arts and working creatively in communities for a charity in Birkenhead. With sell out runs of comedy shows in London, Liverpool and Edinburgh, she is no stranger to the jokes and gags needed to have an audience in stitches.
Abigail Bradbury
Abigail is a Choreographer, Director and Movement Director for professional and amateur large-scale musicals, plays, films and pantomimes across the UK. Abigail has worked extensively within the industry, appearing in her first TV series at the tender age of 6. Abigail HAS Radio, Film and television credits with BBC, ITV, BBC Merseyside Radio and Heart Radio. In addition to her radio and television credits, Abigail’s professional performing career also includes leading roles in ‘Peter Pan’, ‘Pied Piper’, ‘Her Benny’, ‘Christmas Carol’ and ‘David Copperfield’, in a variety of touring theatres across the UK, AND HAS recently performed in ‘Shrek the Musical’, ‘Chitty Chitty Bang Bang’ and ‘The Sound of Music’ at the Liverpool Empire.
Abigail has always had a passion for teaching and sharing her knowledge and skills within the theatre industry.
Matthew is a Director of AMTP LTD and has also starred in multiple TV & film appearances, Matthew has been involved in large scale productions of both theatre and fashion events throughout his life and has a passion for the arts.