Wretched Bliss
With Puccini and Rossini currently filling London’s Little
Opera House each evening, Stephen Crowe’s acerbic chamber piece adds some
welcome atonality in the late night slot.
door, underscore Crowe’s own witty text, as a man and woman, both a bit the
worse for wear, clumsily cop off at a party.
A raucous interlude on trumpet and alto sax leads to
a second scene, where the pair, now a couple, bicker about broccoli and dry
duck while the vocal lines jump around alarmingly. Here the vocals are unaccompanied, alternating with further
outbursts of vibrant brassy cacophony.
Programme notes (which include intriguing
illustrations of the score) tell us that the piece started life six years ago,
at a Nottingham premiere, and has undergone major revision since then. Wretched Bliss (the
former more prominent than the latter) has ended up as a delightful, funny and
accomplished entertainment, showing considerable verbal and musical flair.
The four-piece ensemble, directed by Genevieve
Ellis, is superb and Nick Dwyer and Zoe Challenor excel as the feuding lovers. They project the lines crisply and
clearly, just as well as the King’s Head has some housekeeping issues in its
relationship with its own pub. A loud
and intrusive band was far too evident on the first night.
Wretched Bliss, running
intermittently until 25 January, starts at 10.00pm and plays for 40 minutes.
– Simon Thomas
