Synopsis On one fateful day a poor poet and his beautiful daughter Marisnah find themselves on an adventure they will never forget. Kismet fed 1950 s America s appetite for eastern exotica. In the popular imagination Baghdad was a place of mystery, luxury and sexuality. Here, beautiful princesses, autocratic rulers, enlightened poets and court spin doctors play out a hilarious and dangerous story -part fantasy, part history. First performed on Broadway in 1953, Kismet was an overnight sensation winning 6 Tony Awards - including the only posthumous Tony ever awarded for Borodin s melodies. New Production. Conceived by Gary Griffin in association with Luther Davis and Kit Hesketh-Harvey.
With rumours of backstage feuding between director Gary Griffin and choreographer Javier De Frutos, who withdrew from the production last week (See The Goss, 25 Jun 2007), a cancelled preview and newspaper editorials about the inappropriateness of staging a piece set in a mythic-style Baghdad with the real city is devastated by war, critics were expecting a disaster when English National Opera’s revival of the 1953 Broadway musical Kismet opened on Wednesday (27 June 2007) at the London Coliseum. And, by and large, their judgements fell in line with expectations.
The Arabian Nights-inspired piece – with a book by Charles Lederer and music and lyrics by Grand Hotel’s Robert Wright and George Forrest (after Russian composer Alexander Borodin) - follows the remarkable changes of fortune that engulf a poor poet during the course of one incredible day when Kismet (fate) takes control.
Michael Ball (pictured), Tony Award-winning Broadway star Faith Prince, Sarah Tynan and Alfie Boe lead the 130-strong company of musical theatre actors, opera singers and musicians. The production is conceived by Griffin (who also directs) in collaboration with Luther Davis and Kit Hesketh-Harvey and is designed by Ultz. Richard Hickox and Simon Lee conduct the orchestra.
First night critics deemed the decision to revive the “wincingly” dated Kismet, opening on the same day as Tony Blair’s departure from office, as a gross “miscalculation”. The musical’s faults, most felt, were “compounded by Gary Griffin’s “sparkle”-free production, with its “cheapskate” set, “boomy” amplification and “raggedly executed” dance sequences. Amongst the performances, Sarah Tynan and Alfie Boe’s singing received some praise, but really only musical stalwart Michael Ball emerged critically unscathed.
Michael Coveney on Whatsonstage.com (two stars) – “What sets out to be a promising attempt to fulfil both musical theatre and light opera expectations of a score borrowed from Borodin and given the mid-1950s Broadway treatment by Robert Wright and George Forrest, ends up a misfired mish-mash … Michael Ball, kitted out in a series of voluminous night shirts, has filled out in body and voice, and plays with lots of characteristic charm. But the delightful Broadway star Faith Prince is wasted as the lovelorn Lalume, her big number ‘Not since Nineveh’ drowned in muzzy chorus work and messy staging. Other items, notably ‘Baubles, Bangles and Beads’, fail to shake off tatty pantomime connotations.”
Rupert Christiansen in the Daily Telegraph - “Although the singing is mostly good, the show, which has a design that looks tacky and cheapskate, lacks any sort of sparkle … This was always going to be a tricky one: Kismet was a smash hit on Broadway and in the West End in the Fifties, with a lushly pseudo-operatic score … But what once seemed gorgeously romantic - the tale of a poet turned beggar and his Arabian Night-style adventures in old Baghdad - has dated badly … The American director, Gary Griffin, labours under two severe handicaps. One is the rambling often incomprehensible plot and garrulous dialogue, too bland to be offensive … The other problem is the design. A show like this should give the reassuring impression that a ton of money has been thrown at it, but what Ultz provides looks tacky and desperately cheapskate … This is the stuff of provincial panto not a national opera company … Michael Ball, in the central role of the beggar-poet, puts his numbers across with irresistible gusto and delights his many fans. But for all their efforts, the show lacks any sort of energy or sparkle and the evening drags dismally.”
Fiona Maddocks in the Evening Standard (one star) – “Not since Nineveh, in the words of one of Kismet's hit songs, has a night at English National Opera felt so long, so dreary or so misconceived … This 1955 Broadway musical by Robert Wright and George Forrest camps up old Baghdad – ‘the symbol of happiness on earth!’ - in a way which now makes us cringe. At the interval, many rushed for the exit muttering ‘torture’ … Who on earth allowed this production to happen? No one should object to the Coliseum taking on musicals. Nor should political correctness squash artistic imperative. But Gary Griffin's staging, hideously designed in raspberry colours with acres of satin curtain and beaded fringing by Ultz, was both tactless and lily-livered, quite some feat … Michael Ball was alone in making the pantomimic lines sound credible. Tony Award winner Faith Prince, in her London debut as sexy Lalume, looked as if she'd rather be elsewhere. Sarah Tynan won warm applause for her charming Marsinah, well matched by Alfie Boe, the ex-car mechanic tenor, as Caliph.”
Richard Morrison in The Times (one star) – “A wily chancer makes an ill-fated expedition into Baghdad and gets into all sorts of scraps — only to wriggle free of trouble and to bow out in triumph. But enough about our former Prime Minister. What about this load of old cobblers that English National Opera has decided to resuscitate for reasons known only to itself? Well, if you crave a well-crafted plot, pacy drama, credible characterisation, scenic thrills, fabulous dancing, a subtle musical score and sharp-witted dialogue, don’t come anywhere near St Martin’s Lane. Kismet isn’t just cheesy; it’s the Blue Stilton of Broadway — a hopelessly trite, condescending, sentimentalised 1950s trip into an Arabian Nights Neverland … Cliche is piled on caricature … To compound its original sin, the company stages Kismet with all the flair of a damp squib. In front of Ultz’s camp, pink, flowery sets — I hope they are meant ironically, because if not they are pathetic — Gary Griffin’s production limps along like an amateur panto … And the amplification is often horribly boomy and aggressive … The cast deserves better. Mostly, anyway — for I’m afraid that Michael Ball’s legendary stage charisma passed me by … I haven’t even mentioned the excruciating tastelessness of staging a send-up of life in Baghdad at a time like this. What a miscalculation.”
Paul Callan in the Daily Express (three stars) – “It seems sadly ironic to be watching a magical musical set in the city of Baghdad at a time when the real place is beset with suicide bombers, death and terrible destruction. But, thankfully, Kismet suspends reality – no bad thing – and wills us back to the fantasy times of the Arabian Nights … But the show, lovingly brought back to the stage by the English National Opera, remains an oddity … Michael Ball brings great humour and movement to the part of the cunning poet and he is fine of voice. He shines with some of the show’s hit numbers and has a deft touch at comedy. Sarah Tynan as his daughter Marsinah has a glowingly attractive voice and is very easy on the eye … But, sad to say, this is a creaky old show and seems incredibly dated more than 50 years on … But all of this was utterly redeemed by the sheer beauty of Borodin’s exquisite music … His music survives with its passionate beauty intact.”
Tim Ashley in the Guardian (two stars) – “What on earth are we to make of Kismet nowadays? … By an ironic twist of fate (or kismet, if you prefer, since that's what the title means in Turkish), English National Opera's new production opened on the day of Tony Blair's departure from office. Given Blair's partial responsibility for the Iraq debacle, the incongruity between artistic statement and contemporary fact was inescapable. When we were told that ‘Baghdad is the symbol of happiness on earth’, it was impossible not to wince. ENO's decision to revive Kismet derives from the fact that it inhabits territory somewhere between musical and opera … Whether it works in its own right, however, is debatable … The production, meanwhile, had more than its fair share of vicissitudes before it opened … The tired, nervous quality that hampered the first night may disappear during the run, but it is by no means the grand spectacle one hoped for … The glaring fuchsia-pink walls of Ultz's set cramp the performers. The quasi-Balanchine dance routines, now credited to Nikki Woollaston, were raggedly executed. There are some fine central performances, though. Michael Ball, wide-eyed and impish, is wonderful as the Poet. Alfie Boe (the Caliph) does tremendous things with ‘Night of My Nights’ and woos Sarah Tynan's passionate Marsinah with genuinely convincing ardour. Vocally, the only disappointment is Faith Prince's Lalume.”
When the curtain came down on the first night of Kismet at the Coliseum, the cast sang “Happy Birthday” to Michael Ball. Sadly, for the rest of the evening, the curtain was up. And it felt like nobody’s birthday, least of all mine.
What sets out to be a promising attempt to fulfil both musical theatre and light opera expectations of a score borrowed from Borodin and given the mid-1950s Broadway treatment by Robert Wright and George Forrest, ends up a misfired mish-mash.
The story is a sort of musical Arabian night, adapted from a 1911 play by Edward Knoblock, in medieval Baghdad (“the symbol of happiness on earth” has an unfortunately inappropriate ring to it). An unnamed poet disguised as a beggar (Michael Ball) seduces Lalume (Faith Prince), the Wazir’s wife of wives, is appointed an Emir of the city, and marries off his daughter Marsinah (Sarah Tynan) to the handsome young Caliph (Alfie Boe).
Ball, kitted out in a series of voluminous night shirts, has filled out in body and voice, and plays with lots of characteristic charm. But the delightful Broadway star Faith Prince is wasted as the lovelorn Lalume, her big number “Not since Nineveh” drowned in muzzy chorus work and messy staging. Other items, notably “Baubles, Bangles and Beads”, fail to shake off tatty pantomime connotations, while “Stranger in Paradise” still belongs to Johnny Mathis as far as I am concerned.
Choreographer Javier de Frutos quit the production days before opening citing “artistic differences”. The Baghdad slaves and the leather-clad trio of Ababu princesses bear his cheeky trademark in baring thighs and torsos. But the dancing is cramped and the ENO chorus, especially the men, seem not to have a clue about moving across a stage, let alone executing the simplest of dance steps upon it.
At least the sound system and microphoning is better than it was for On the Town. Designer Ultz has created a blood red set for visiting American director Gary Griffin (who won an Olivier award for his Donmar revival of Pacific Overtures three years ago) that has some wonderful ideas: a circular, vertical pomegranate garden is the setting for the musical highlight, “And This Is My Beloved”, gloriously sung and harmonised by Tynan and Boe.
Richard Hickox draws some lush and highly charged sound from the 60-strong orchestra pit (Simon Lee shares conducting duties over the next two weeks). Rodney Clarke (soon to be seen in Carmen Jones) is an impressive chief policeman, and there are fine musical contributions from stalwarts Donald Maxwell as Omar Khayyam and Graeme Danby as the foolish Wazir (“Was I a Wazir? I wuz”).
"Faith Prince looks too much like the TV evangelist and serial nip-and-tuck client Tammy Faye Bakker to be taken seriously, and Michael Ball in a scruffy nightshirt and scruffier beard pleased only his clucking clutch of die-hard female fans who are so out of touch with reality, they probably think he's marital material. He's also chubbed up so effectively he won't need the padding when he takes on Divine's role in Hairspray. Can't comment on the second half, didn't stop for it. - "
Thought these were supposed to be theatre reviews!
If it were for the performances I would give it at least five stars. The standard of singing was great. Michael Ball impressed me greatly and was surely the best thing about the production.However everything else was not up to scratch so I give it three stars.
- BenJames
18 Jul 07
This show would embarrass the end of a pier. Puse shiny flats and black drapes don't make adequate sets for a broadway fantasy. The book is beyond creaking and the sound image provided by the technicians was grossly over amplified. Added to this is the fact that opera singers, with few exceptions, can't sing broadway and these mostly confirmed the rule. Michael Ball had obviously decided not to worry about what was going on around him by the time I saw the show and just provided a 'star' turn, even then was more of a fat friend never a loving father. Alfie Boe has a tolerable voice but moves like a milkman, Sarah Tynan was sweet but lets draw a veil over Faith Prince (pity there wasn't one available on the night!). The first walk outs happened within 30 minutes of curtain up and the (half full to start with) auditorium looked decimated after the interval. Oh Dear! PS: Sorry about double post -pressed the wrong button first time! Three stars no way - I'll get the right button if it kills me!!!!! - KM
10 Jul 07
This show would embarrass the end of a pier. Puse shiny flats and black drapes don't make adequate sets for a broadway fantasy. The book is beyond creaking and the sound image provided by the technicians was grossly over amplified. Added to this is the fact that opera singers, with few exceptions, can't sing broadway and these mostly confirmed the rule. Michael Ball had obviously decided not to worry about what was going on around him by the time I saw the show and just provided a 'star' turn, even then was more of a fat friend never a loving father. Alfie Boe has a tolerable voice but moves like a milkman, Sarah Tynan was sweet but lets draw a veil over Faith Prince (pity there wasn't one available on the night!). The first walk outs happened within 30 minutes of curtain up and the (half full to start with) auditorium looked decimated after the interval. Oh Dear! PS: Sorry about double post -pressed the wrong button first time! - KM
10 Jul 07
This show would embarrass the end of a pier. Puse shine flats and black drapes don't make adequate sets for a broadway fantasy. The book is beyond creaking and the sound image provided by the technicians was grossly over amplified. Added to this is the fact that opera singers, with few exceptions, can't sing broadway and these were not among those exceptions to the rule. Michael Ball had obviously decided not to worry about what was going on around him by the time I saw the show and just provided a 'star' turn. The first walk outs happened within 30 minutes of curtain up and the (half full) auditorium looked decimated after the interval. Oh Dear! - KM
10 Jul 07
Kismet is a show with an identity crisis: is it a musical or a comic opera? Bizarrely this ENO production seems to think it's a pantomime, complete with cheap-looking sets and some dreadfully over-the-top performances. Why this hokum is on at such a beautiful theatre is a mystery, particularly as the story, set in old Baghdad, is bordering on the offensive. And yet it partially succeeds thanks to some wonderful singing (Sarah Tynan is outstanding) and a sometimes beautiful score which borrows heavily from Borodin. Michael Ball will probably not look back on this as a career highlight, but he manages to wring every last ounce of comedy and charm from the leading role. Weirdly enjoyable and not the train wreck it was made out to be by some of the snootier critics, but also not deserving of the standing ovation it received from some of the audience. - David baxter
08 Jul 07
Anyone arriving at the Coliseum with expectations buffed by On the Town or The Mikado is in for a rude awakening. This is regional pantomime, but overcast. Sarah Tynan and Alfie Boe make a fist of their lyrical roles, and "Stranger in Paradise" transcends the ordinary, but Faith Prince looks too much like the TV evangelist and serial nip-and-tuck client Tammy Faye Bakker to be taken seriously, and Michael Ball in a scruffy nightshirt and scruffier beard pleased only his clucking clutch of die-hard female fans who are so out of touch with reality, they probably think he's marital material.
He's also chubbed up so effectively he won't need the padding when he takes on Divine's role in Hairspray.
Can't comment on the second half, didn't stop for it.
- JohnnyFox
07 Jul 07
I took my Mum on Wednesday - she'd seen the original London production back in 1955 and thought that Kismet was a fairly serious show. This 2007 certainly isn't serious - it is however great fun! Having seen no other version of this myself - I really enjoyed it - it is just harmless fun! My mum, having seen a more serious version in the past, also really enjoyed it. I think the reviews are harsh - there are strong performances throughout the main cast. If you want to watch something that you don't have to think about and can just smile about this is the show. - BLH
06 Jul 07
Well, 2.5 really. I don't think it is good enough to be revived on this scale (maybe a Lost Musical or a Landor...) but the musical standards are high and if you send it all up (like the cast seem to be doing) its harmless fun. The Michael Ball fan club were in and gave it a standing ovation! - probably a bit of a tonic for the cast after the critical drubbing. - Gareth James
06 Jul 07
I went last night, expecting to see a turkey after all the bad crits...and it wasn't THAT bad....in fact by the second half, I was enjoying myself. Starting with the good bits...Sarah Tynan and Alfie Boe were terrific and much to my surprise Michael Ball was too. He lit up the stage everytime he appeared. To be honest, I've never really "got" him, but my goodness, the man worked his socks off. "Kismet" is adult panto - no more, no less, and enjoyable on that level. I agree with the comments about the chorus...and the dancing....however, the single worst thing about the performance was the decision to play several scenes in front of the curtain, whilst sets were changed. It looked appalling, and did nothing to move the production up from regional panto standard. It cannot be beyond the wit of man - or designer - to have thought through set changes a little better than that. It also left the cast with little or no room to perform. BUT, in short. Don't despair if you've got tickets....it's not as bad as all that and raised a smile from the three of us! - Tigger
04 Jul 07
ILS, I totally agree. It's incredible I have paid 83 pounds to see this sh..! Sound was good and the music is beautiful and quite well performed (orchestra and singers)....but sets, choreography, movement, direction...is awful!!! Poor, very poor. Amateur. Worst production of a musical I can remember in years!! - Tino
Opened by Oswald Stoll on 24 Dec 1904. The first London theatre with a revolving stage. Home of the English National Opera (ENO). 2358 seats, the largest theatre in London, built in 1904 and very sophisticated at the time. The globe at the top was meant to revolve, but this wasn't allowed and 'chaser' lights were installed instead. Home of the ENO. since 1968. Society of London Theatre member. Restoration work costing £41m started in 2001 and due to be completed by 2004 to coincide with the centenary of the Coliseum. During the restoration an artistic programme will be staged.
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