Inspired by the 1980's film of mid 19th century Italian Iginio Ugo Tarchetti's unfinished novel (he died, at 29, before he could complete it) Sondheim's musical version is perhaps one of the most operatic of his works.
The melodies are elusive, the lyrics less witty than customary, and though there are tiny touches of humour in the officers' mess, this is, overwhelmingly, the powerful story of an unequal triangle
in which a dashing young soldier finds himself unexpectedly torn between his torrid love affair with his beautiful married Milanese mistress Clara and the relentlessly scheming Fosca, the overwrought, sickly cousin of the colonel in charge of the remote garrison where he is posted.
Played without an interval, Jamie Lloyd's elegantly choreographed production (the scene changes executed with military precision by Giorgio's fellow soldiers) builds in intensity as Fosca's manipulative plotting begins to wear Giorgio down. Christopher Oram's triple arched set provides the backdrop for both boudoir and barracks.
Scarlett Strallen brings a luminous purity to the role of Clara, her afternoons of adulterous bliss slowly replaced by doubt and the growing knowledge that she has an unlikely rival. She is well matched - physically and vocally - by David Thaxton's Giorgio (despite a certain lack of subtlety in his acting).
And though it's hard to see the inner beauty which overcomes Giorgio's initial repulsion in this gothic love story, Elena Roger's tiny, emaciated Fosca (her cheeks sunken but her eyes bright with desire for the handsome young officer) gives touching credibility to the feverishly relentless passion with which she stalks her prey and her doomed delight when she finally enjoys the affection she so desperately craves.
Donmar Theatre
The melodies are elusive, the lyrics less witty than customary, and though there are tiny touches of humour in the officers' mess, this is, overwhelmingly, the powerful story of an unequal triangle
in which a dashing young soldier finds himself unexpectedly torn between his torrid love affair with his beautiful married Milanese mistress Clara and the relentlessly scheming Fosca, the overwrought, sickly cousin of the colonel in charge of the remote garrison where he is posted.
Played without an interval, Jamie Lloyd's elegantly choreographed production (the scene changes executed with military precision by Giorgio's fellow soldiers) builds in intensity as Fosca's manipulative plotting begins to wear Giorgio down. Christopher Oram's triple arched set provides the backdrop for both boudoir and barracks.
Scarlett Strallen brings a luminous purity to the role of Clara, her afternoons of adulterous bliss slowly replaced by doubt and the growing knowledge that she has an unlikely rival. She is well matched - physically and vocally - by David Thaxton's Giorgio (despite a certain lack of subtlety in his acting).
And though it's hard to see the inner beauty which overcomes Giorgio's initial repulsion in this gothic love story, Elena Roger's tiny, emaciated Fosca (her cheeks sunken but her eyes bright with desire for the handsome young officer) gives touching credibility to the feverishly relentless passion with which she stalks her prey and her doomed delight when she finally enjoys the affection she so desperately craves.
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