ORPHEUS IN THE UNDERWORLD, Parish of Cheam A.O.S., October 1977.

Viewing one's own operatic Society from the other side of the curtain is an interesting experience. I have just had the opportunity. The Park-Hanmer version used is serviceable, but the journey across the channel has coarsened the texture of the operetta. French “oo-la-la” can be successfully translated into English terms, as witness recent Feydeau productions, but has not fared well in this case. The agreeable romp remaining was perpetrated by the cast (in general) in suitable “don't believe a word of it” high spirits. Orpheus (Leo Hare) contrived to be self-centred and selfish, but still quite likeable - and funny. He also synchronised his violin bowing with his “ghost” with remarkable accuracy. He was well matched by the experienced Pluto (Paul Simmonds). Eurydice (Pat Thompson) looked and acted the part to perfection. Her singing is improving but is still liable to sudden tonal lapses (probably due to lack of breath). Ray Green played Jupiter in much the same style as his previous successful Menelaus, a neat personification of senility just becoming noticeable. Juno (Joan Edwards) was a good character study (if you can accept the Queen of Olympus as feather headed). Calliope (Jean Caldwell) used an exaggerated form of her native Scots accent (to suggest a female Elder of the Kirk?) She was dressed rather oddly as a Voortrekker vrouw, except that the sunbonnet was replaced by a tiara. Diana (Valerie Tibble) appeared in nineteenth century huntin' outfit, which suited her admirably. Alas, she lost her battle with the orchestra, which was too loud in other places too. Venus (Diane Watson) sounded good, and looked very handsome, though I found her resemblance to Queen Anne a bit disconcerting. Cupid (Sue Kennett) did well in her first part, with a frothy exuberance. The chorus sang lustily with their usual excellent tone, and clearly enjoyed themselves, with the exception of the tenors, who were at less than half strength, and unable to produce enough volume for correct balance. The violin class was a convincing group of obstreperous juveniles. The orchestra was as usual composed of good players and was directed by David Harding with his customary expertise. He was unfortunately faced with certain brass players new to him, and their "joie-de-vivre" was at times overwhelming. Sometimes the result was unfortunate, but at others quite acceptable as when it smothered rather dreadfully banal words. The orchestration is also of the sort which is often unkind towards the projection of intelligible words. John Gilbert's production had the necessary pace, and also some felicitous touches. Some of the audience were plainly not pleased to get a Galop (as indicated by score & libretto) rather than the hoped-for can-can to the tune. The costumes were colourful and looked very attractive under the imaginative and skilfully managed lighting. I wish I could say the same for some of the make-up. One final regret - both the balloon scene and the Fly Duet were omitted. R.G. CRICK

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