Jacques Offenbach - Orpheus in the Underworld
NI Opera & Scottish Opera, 2011
Derek Clark, Oliver Mears, Rory Bremner, Nicholas Sherratt, Jane Harrington, Máire Flavin, Ross McInroy, Brendan Collins, Daire Halpin, Gavin Ring, Maire Claire Breen, Olivia Ray, Christopher Diffey
Theatre at the Mill, Newtownabbey, 31 October 2011
Written in 1858, Offenbach’s first full-length comic operetta was by no means intended to be merely just a retelling of the classic Greek myth, not indeed even just a satire on the use of the subject in so many operas, but it was also intended to be a satire of the times. Who better then to take on the necessary task of updating it for our own times (it’s hardly going to be meaningful to parody 19th century Parisian society), while retaining all the risqué humour and the political edge than impressionist comedian and satirist Rory Bremner for this joint production between Scottish Opera and Northern Ireland Opera of Orpheus in the Underworld (’Orphée aux enfers’).
You might think that celebrity marriages, society scandal and gossip were only a recent phenomenon introduced by tabloid newspapers and the publication of ‘Hello’ and ‘OK’, but no, it was clearly as much a subject of interest in Offenbach’s time as it doubtless was long before that, and a subject just as worthy of sending up. Here, Eurydice is enjoying life as a WAG, her husband the celebrity musician Orpheus (although she has a severe allergic reaction to his music), and Bremner’s witty working of the libretto captures all the glamour as well as the vacuousness of the celebrity lifestyle. Even though both Eurydice and Orpheus can’t stand each other any longer and are cheating on each other, they are concerned about Public Opinion (a character in the opera), and about what a divorce would do to their reputations.
Unfortunately, Eurydice’s gym instructor with whom she is having an affair is not Aristaeus, as she believes, but Pluto, the God of the Underworld in disguise. The collusion between Pluto and Orpheus isn’t really brought out in this production, but in any case the end result is the same – an unfortunate “accident” that kills Eurydice, allowing Pluto to whisk her off to Hell. Public Opinion is not impressed, although Orpheus doesn’t seem too concerned, and she insists that he set matters right and appeal to the Gods on Olympus. They’re a decadent bunch but rather fed-up with the high-life and the meaningless little affairs that they’ve been carrying on, so the idea of slumming it in Hell on a rescue mission to recover Eurydice sounds like fun to them. Apollo, who can’t keep it in his pants, as we all know, also sees the chance of upstaging an old rival by stealing Eurydice for himself right from under Pluto’s nose and on his own turf.
Off they go, partying in the Underworld, dancing the Can-Can (the famous music of the Moulin Rouge indeed originating from this Offenbach operetta), to such lively arrangements, sordid liaisons and bitter rivalry, that Orpheus in the Underworld has all the ingredients for a classic opera plot, if it’s not exactly the way the classical subject is more often played out. Not least of the imaginative arrangements in this humorous treatment is Apollo, disguised as a giant fly, getting it on in a vibrating buzzing way with Eurydice. Perhaps surprisingly, such racy material and irreverence is all there in Offenbach’s original work, and – without wishing to take anything away from Bremner’s often funny and cleverly rhyming English update – it only takes a tweak or two to spice it up with some modern pop-culture references (and some local topical ones, depending on the venue).
Still, that’s making it all sound a little easier than it really is. In order to carry off this kind of comic opera, you not only need good performers who can act as well as sing, but they also need to have a good sense of comic timing and rapport with each other. If you have that – and there’s no doubt that this was certainly the case in this production – when combined with the zippy, witty and dazzling arrangements from Offenbach that belie the apparent lightness of the material, you have a winning combination. Surprisingly, Orpheus isn’t one of the major characters in the opera, but Nicholas Sherratt worked well alongside Jane Harrington’s terrific characterisation of Eurydice (by way perhaps of Katie Price and Victoria Beckham). Handling the comedy acting and the singing parts with equal aplomb, she was a delight whenever she was on the stage. The meatier roles however were given over to Brendan Collins and Gavin Ring as Apollo and Pluto, who both managed to strike the right tone throughout, as well as carry off the more outrageous moments of comic interplay. The all-important satirical sense of moral outrage mixed with salacious prying and interference was brilliantly brought out in Máire Flavin’s schoolmarmish Public Opinion, but all the cast fully entered into the spirit of the piece.
Conducted by Derek Clark, the chamber arrangement played by the NI Opera Orchestra worked perfectly with the intimacy of the venue at Newtownabbey’s Theatre at the Mill, but with appropriate zest and timing that fully supported the outrageous on-stage activities. Following the Northern Ireland tour, the production travels to the Young Vic in London for a number of dates between the 1st and 10th December and this is one show that is well worth catching if you can-can.