Reset to show correct score for this review. - Jim Grover
15 Jul 08
At first sight it is a cheap trick, to relocate the place and period in which a work is set to the composer's home country at the time at which it was written. It is also disrespectful, bearing in mind that allegorical references were impossible to be spoken plainly at the time of writing. All historical and inter-textual comparisons between setting, composition date and the present are also immediately reduced by a third. To make a direct comparison, what would be the point in playing Arthur Miller's brilliant witch-hunt parallel in "The Crucible" to look like mid-20th century USA? Further problems arise, however, when the audience fails to recognise that the religious zealotry, false accusation and hysteria in 17th century Salem is really about the American Red-Under-The-Bed paranoia that led to widespread persecution and purges.
The idea for "Candide" came to Lillian Hellman, who was invited to testify at those trials and had noticed yet another historical parallel for the HUOC, namely the Inquisition. She suggested it to Leonard Bernstein in 1953, the year that "The Crucible" was first performed on Broadway. Although its starting point was that same political climate, "Candide" benefits from the wider scope of Voltaire's philosophical satire.
The strengths and weaknesses of the musical Candide stem from its illustrious pedigree. It took three years to get to a first performing version and has remained a "work in progress" for over half a century. In addition to Lillian Hellman's adaptation of Voltaire's book there was a rewrite by Michael Stewart and further changes by Hugh Wheeler, then it was tweaked by Jonathan Miller and John Wells (Mr Wells also shares credits with Bernstein for the addition of the narration) and now Robert Carsen and Ian Burton, lyrics were written by John LaTouche, who was replaced by Richard Wilbur, who was joined by others including Dorothy Parker, Leonard and Felicia Bernstein and Stephen Sondheim. It may have been a labour of love, Bernstein's homage to operettas of the Old World and musical theatre and the popular dances of his native Americas, but the result of committees is usually a bland compromise.
Did I mention subtlety? Try another opera. The overture accompanies filmed credits on the 1950's television set that frames the stage. Already we are in multi-media (a cross-reference here to anyone else who was at "Lost Highway", though there the resemblance ends) territory. The action opens with the narrator, Voltaire (Alex Jennings), showing us the West Failure White House, over which Baron Kennedy and his family hold court. Voltaire, his impeccable intonation bringing to mind the narration in "Shock Headed Peter", cleverly changes into a geeky Pangloss (in act 2 he also takes on the pessimistic Martin) to give his metaphisico-theologo-cosmolonigology lesson to the naïve Candide (Toby Spence), the alluring Cunegonde (Marnie Breckenridge), promiscuous Paquette (Mairead Buicke) and pompous Maximilian (Mark Stone), during which the principal relationships that drive the action are introduced. Candide's expulsion from Camelot and press-gang recruitment to the army precedes a brutal visual depiction of Voltaire's description of war. Picaresque adventure, tragedy, comedy, farce and romance are seamlessly intermingled in the scenes that follow.
There is never a dull moment in this production and thus impossible to describe any more than the briefest taste of the evening. References to familiar works abound. The Lisbon earthquake and HUOC/auto de fe is conducted in shamelessly bad taste, highly reminiscent of the Inquisition scene of Mel Brooks' "History of the World, Part 1" and with similarly cheerful, high-kicking cone-capped accusers eager to hang all "homosexualists and commie Jews". The celebrated big number, "Glitter And Be Gay", has Cunegonde brilliantly portraying Marilyn Monroe in "Gentlemen Prefer Blondes" (the Monroe theme continues later with Maximilian cross-dressed as a saxaphone-playing Tony Curtis from "Some Like It Hot"). The half-arsed Old Woman (Beverley Klein) who divides Cunegonde's bed duties between the Grand Inquisitor and Issachar the Banker (here both depicted as rival film producers) was portrayed as a cross between Madame Dilly from "On The Town" and Groucho Marx.
The orchestra under Rumon Gamba responded enthusiastically to the score, the chorus were in fine voice and the dancers were superb. The cast was excellent without exception, with special mention to Marnie Breckenridge, Toby Spence and Alex Jennings and, most of all, the amazingly versatile Beverley Klein.
A cheap trick, the work of a committee, unsubtle, knowing-wink derivative and as camp as the feather boa in a Baden Powell tribute act, this production is more than just the sum of its parts. Visually stunning and breathtakingly in pace, I have no hesitation is declaring this to be the best of all possible productions!
- Jim Grover
15 Jul 08
A fabulously funny modern take on Candide with great performances, especially Alex Jennings, Beverley Klein and Anna Christy. It risked going over the top with the parody of modern political characters - a little bit unneccesary but otherwise worked really well, a great update. And nothing can take away from the brilliant score especially the magical Make our Garden Grow which sent shivers through me. A great, fun evening out. - Paul Wallis
12 Jul 08
whoops sorry, meant to give the previous review 5 stars - David
12 Jul 08
The best production of 'Candide' that I have ever seen. EXCELLENT ! and the rest of the audience seemed to think so too. Judging by the applause. Totally enjoyable, and it all made total sense. I think that you must have seen a totally different production, Michael Coveney, than the on I saw tonight!!
- David
12 Jul 08
Loyalists will be dismayed - although the house was full, but the laughter gradually thinned. Much deserved applause though for some fine singing but the show is a loosely strung-together series of revue sketches, some appallingly and clumsily updated especially a parody pantomime with masks of Blair et al. The music is of course undamaged and uplifting.The global warming projections at the end leave the audience very depressed. - Alex Green
08 Jul 08
Loyalists will be dismayed - although the house was full, but the laughter gradually thinned. Much deserved applause though for some fine singing but the show is a loosely strung-together series of revue sketches, some appallingly and clumsily updated especially a parody pantomime with masks of Blair et al. The music is of course undamaged and uplifting.The global warming projections at the end leave the audience very depressed. - Alex Green
08 Jul 08
Perhaps it's not quite the sum of its parts, but never the less a magnificently staged effort and with Alex Jennings leading the line up a hoot. Bernstein said Candide "..was written as a kind of personal love letter to European music...." and "...a kind of bow of veneration to Gilbert and to Sullivan...." Well that's fine by me! This production, contrary to some opinions, has bite too. It's only got a few more performances left in the run so if you want to see a terrific cast take on this extraordinary piece get onto the London Coliseum right now! - rds
07 Jul 08
If the ENO is tp persist with musical theatre it must start making better choices. Kismet became a laughing stock and sadly Candide is no better. An absurdist operetta, cleverly adapted to satirise America in the 1950s, it is simply not funny enough to sustain three hours, and the conceit is severely strained at times (the characterisation of Cacambo as a Native American is racist and offensive). The presence of surtitles also emphasises that the libretto is clumsy and devoid of wit, not helped by the fact that the book, loosely based on Voltaire, is idiotic. At least Kismet had a brilliant score, based on Borodin but Bernstein's music is disappointing, heavily influenced by Offenbach and Gilbert & Sullivan, with almost no opportunities for the singers to really shine. Michael Levine's design, based around an old TV set, is very clever but Robert Carsen's direction is leaden. At one appalling moment in the second act, with the desperately unfunny appearance of present-day politicians on air beds (don't ask) it is clear he has lost the plot completely. Michael Ball was Kismet's saving grace and the wonderful Alex Jennings here demonstrates how musical comedy should be performed, which unfortunately the opera cast could not come close to matching. At £166 for two seats with inadequate legroom I felt severely ripped-off: the ENO should stick to what it's good at. - David Baxter
06 Jul 08
Judging by last night's cheers the critics are, yet again, out-of-synch with the audience. This is an operetta / musical not an opera. It was considered a musical comedy when it was first mounted at a time when 'the American dream' was in the bloodstream of America and much of the rest of the world. Here it gets a perfectly valid satirical treatment which is, at the same time, funny, and inventive. It isn't subtle, it occasionally falls flat, but it is mostly entertaining. The designs and choreography are particularly good, though it has to be said that the 'actors' Alex Jennings and Beverley Klein steal the show from the 'opera singers' (though Toby Spence was ill the night we went). It wasn't as good as the National's wonderful production at the Olivier a few (many?) years ago, but it's an interesting and worthwhile event so go and find out for yourself....and I found the final hopeful 'hymn' juxtaposed with footage of the demise of 'the American dream' moving and thought-provoking! - Gareth James
06 Jul 08
Superb must see show and not to be missed. I especially enjoyed Alex Jennings who was wonderful and the wonderful voice of Toby Spence. The ENO has excelled themselves on this one. - ILS
05 Jul 08
Just very badly directed. Mr Carson should stick to Opera. - Michelle
04 Jul 08
I saw this show last Sunday, and I was really looking forward to it as I have never seen it before and don't really know the score either.
To start with I though the set was excellent and was used exceptionally well throughout. Alex Jennings as Voltaire/Pangloss played his characters with class and kept the story moving with pace and wit. Toby spence was excellent as Candide and the beautiful tone of his voice was superbly suited to this role. Beverley Klein was exceptional as the old lady with great comic timing. Anna Christy as Cunegonde acted the part very well and had a great voice, but unfortunately I must echo other reviews and say that I was a little disappointed with Glitter and be Gay, it just didn't have the sparkle that I was excpecting.....apart from the jewelery! The chorus and dancers were very good and helped tell the complex story that Candide is.
Overall the show was very good and the quality of the singing/performance was excellent but the highlight for me was the finale 'Make Our Garden Grow', the superb singing gave me goosebumps and for me brought together the philosophical streams of the story perfectly, that living in this world is not perfect but we have to make the best of what we have and work hard to create a better world.....that was my take on it anyway! Enjoy! - T Garrad
03 Jul 08
I am due to see the show next Friday so obviosly I cannot comment on this production but I did record it last Christmas when it was on BBC TV from Paris, so I know what to expect. I agree with Kevin that Glitter & be Gay is overstaged. I saw the original London production with Mary Costa and all she had was a jewel box in front of her during the song. She finished the song dripping in bracelets (they covered her arms) rings on all her fingers, big necklaces and in the final moments a very large tiara. Tears were rolling down my face with laughter.
I have seen a few productions since then but nothing beats the OLC. - Barry Heald
01 Jul 08
A friend who read this felt I should point out Marnie B has been due to take over as Cunegonde on 2 July - ENOs publicity makes it look like Anna C was goning to be on for the whole run. Sorry for any confusion caused. - Kevin McD
01 Jul 08
Oh dear, what a mess - why did I enjoy it so much? Setting Act I firmly in the US makes a dramatic nonsense of the trip to the New World, complete with Ellis Island view of the Statue of Liberty, for Act II. At the matinee on Saturday 29 June, Anna Christie was off sick so Marnie Breckenridge stepped in a few days early as Cunegonde and I wasn't too disappointed - she looked good and was (mostly) on the note but as someone has already said 'Glitter & Be Gay' sadly missed the target by being over staged. As an old fella I remeber a Covent Garden gala where Valerie Masterson sang this starting in a pure, white, simple gown which obviously had velcro all over it and chorus boys encrusted her with jewels during the up-tempo sections without getting in the way.
Toby Spence and Beverly Kleine were perfect and it's the bset thing I've seen Alex Jennings do for a very long time, his almost constant stage personna's were cleverly delineated and his panglos remined me uncannily of Tony Curtis (as a man) in Some Like It Hot. For my money, about a third of the book for Act II could be blue-pencilled but I don't suppose anyone would have the balls to do it. - Kevin McD
30 Jun 08
What a mess! If you're going to change the setting then at least be consistent. One minute we're in 50s America, then slip into the 60s, and then suddenly we're surrounded by modern political leaders, and finish up with a message about global environmentalism which comes out of nowhere.
And they leave the U.S.A. to head to the New World and arrive in ... the U.S.A.??? Whoever's bright idea that was needs their head examining.
The music is still gorgeous which was the only reason I stayed. Some of the acting from the supporting players was excruciating: the Texan oilman and the camp waiters being particular awful. And admittedly the chorus are there for their singing voices rather than their acting abilities - but I've never witnessed such a dearth of basic stage presence. The few moments of choreography they were required to execute were lamentable, but then even the dancers appeared under-rehearsed and sloppy. Thank goodness for Alex Jennings and Beveley Klein injecting some actual level of performance.
Thank God I got a deal on the tickets - had I paid £83 for this amateurish mess I'd have been outraged! - Quentin
28 Jun 08
Candide - problematic book, wonderful music. Robert Carsen and Ian Burton have written a new book, Bernstein's music remains intact. Don't worry too much about the story, just enjoy the different set pieces, some of which come off better than others. The auto da fe scene and the casino scene were both good, the scene with world leaders reclining on the beach misfired mainly because the realistic face masks obscured the singers' words. And the music! Wow! What a pleasure to hear arias where the words sit so well on the music. Cunegonde's aria 'Glitter and be gay' brings the house down, Candide's aria 'This is me' is beautiful. Alex Jennings, Toby Spence, Beverley Klein and Anna Christy are all excellent. Everything is amplified just nicely (I wish the ENO would do this for all their productions). Perhaps a tad overlong, but a lovely confection of an entertainment.
- Trevor Harvey
28 Jun 08
Poor old Michael clinging to his intellectual right like one of the lost G8 leaders in a slick of oil in Act 11. His flawed favourite translation of Voltaire falls at the first fence of satire and wit;talk about dry, which is very much not the case here. Satire is a necessarily contemporary offensive if it is to be of any benefit at all. Thus here we are laughing and humming along in blind sentimentality with the unerring sense that all is NOT right with the world at all. We may well not be living in the best of all possible worlds after all and in this presentment there is both skill and daring on the part of Carsen and his team. Perhaps Michael is old enough to no longer consider mankind's foolishness and consequent plight any of his business. There is no shame in being moved by this sublime score even if we are weighed down with what we know and not what we feel. This Candide puts this candidly to the fore as Voltaire wished. Michael, 'we must grow our garden', not wither it! - michael Culkin
27 Jun 08
Poor old Michael clinging to his intellectual right like one of the lost G8 leaders in a slick of oil in Act 11. His flawed favourite translation of Voltaire falls at the first fence of satire and wit;talk about dry, which is very much not the case here. Satire is a necessarily contemporary offensive if it is to be of any benefit at all. Thus here we are laughing and humming along in blind sentimentality with the unerring sense that all is NOT right with the world at all. We may well not be living in the best of all possible worlds after all and in this presentment there is both skill and daring on the part of Carsen and his team. Perhaps Michael is old enough to no longer consider mankind's foolishness and consequent plight any of his business. There is no shame in being moved by this sublime score even if we are weighed down with what we know and not what we feel. This Candide puts this candidly to the fore as Voltaire wished. Michael, 'we must grow our garden', not wither it! - michael Culkin
27 Jun 08
Excellent! - David
26 Jun 08
More like a 4.9 - but close to a 5. I totally disagree with Michael. This was a really bold & successful attempt to make Candide come alive and truly deliver the promise of what is a very complex story and show. It was a joy to watch, the updating/setting witty, appropriate and above all consistent. What a joyful evening. I saw the NT version and thought it pared down to the bone which made it dry, dull & boring. This is lively, joyous, fun, interesting and marvellously entertaining - go see it, you'll love it - well i did! - Barry
26 Jun 08
Whereas Leonard Bernstein's "Candide" follows closely Voltaire and, produced on a small, intimate scale, can get the audience involved and participating, this new production, huge,updated, overambitious and patronising (with new additions of text and music, not always very effective), is very disappointing. I suppose the purpose of the contemporary setting is to enable the audience to relate more to the phylosophical issues of the original text, all the while creating a "spectacle" (Vegas shows, politicians dancing, etc.) But even the spectacle is failing miserably because of the monochromatic (black/gray) colours and the unimaginative choreography. And the philosophy? It gets lost in the 3-hr-long boring narrative which lacks Voltaire's wit, irony and whimsical sarcasm. All that's left is a nonsense plot. Both Voltaire and Bernstein are turning in their graves. - Alexandra Gruen
