REVIEW: RIGOLETTO @ THEATRE ROYAL PLYMOUTH

🎭 Rigoletto

📍 The Lyric, Theatre Royal Plymouth, Royal Parade, Plymouth, Devon, PL1 2TR

🗓 Thursday 17th October 2024

⭐️⭐️⭐️⭐️

DARK, DEBAUCHED AND DEFIANT

Guiseppe Verdi’s bitter tragedy of revenge and retribution is given an uncompromising Hogarthian makeover by the Welsh National Opera. The opening scenes are brutal and graphic. Director Adele Thomas creates a dark, dangerous and challenging production that makes the audience squirm and delight in turn. 

The setting is the hedonistic court of a libidinous, handsome Duke where anything goes and no one matters – apart from the Duke naturally. Members of the court, in varying states of inebriation and undress, are watching bare knuckle fights, drinking copiously and seducing each other. Lead by the Duke, for whom any woman is prey, the atmosphere is perverse and unpleasant.

Annemarie Woods’ sparse utilitarian set and minimal use of props increases the discomfort while lighting designer Guy Hoare’s inspired use of low spotlights to cast larger than life shadows of debauchery is a masterstroke.  

The Duke’s Fool, Rigoletto, seems quite comfortable amid this morass of iniquity. A bombastic figure, he defends his Duke, against the cuckolded husbands. One such husband, Count Ceprano, Martin Lloyd, sees his new wife seduced and flies into a rage at Rigoletto’s scorn. He enlists the aid of fellow courtiers in plotting revenge. Against this background, Count Monterone, Paul Carey Jones, demands the return of his daughter, also seduced by the amoral Duke, only to be mocked in turn by Rigoletto. For this insult he roundly curses Rigoletto.

This shakes a now fearful Rigoletto to the core. When on leaving the court, he is approached by sinister swordsman, Sparafucile, Nathanaël Tavernier, who offers his services as an assassin, Rigoletto ponders as he continues on his way to visit his cherished daughter Gilda. the one bright light in his shadowed life. 

As Rigoletto, Daniel Luis de Vincente is stunning, his wonderful baritone voice delivers such a diversity of emotions. Harsh in mockery, rich in fearfulness and full of tenderness towards his precious daughter. In turn Soraya Mafi as the naive child-woman, Gilda, is sublime. Her gorgeous, soaring soprano scintillates and throbs with the intense emotions of a young girl. This little girl in a grown woman’s dress, a genius stroke by the costume designer, Sîan Price, breaks our hearts with concern for her future. The loving relationship between her father and herself offers a soothing balm amongst the malignance of court life. Along with Raffaele Abete’s Duke they are the standout performances for me. 

The WNO Orchestra’s performance of Verdi’s magnificent music and the fabulous voices of the WNO are marvellous.  I feel they were somewhat overwhelmed in the first act, however by the visual ‘noise’. There is so much happening it distracts from settling into the story. There are also some quirky performances which I am still trying to decide if they detract or add to the production. One of these is the eccentric arm movements by the assassin’s sister, Maddalena, Alyona Abramova. I imagine they signify distress but they do seem a little odd. I am also awestruck that, despite losing most of their garments, the ensemble kept their wigs intact. 

I feel this production is defiant and edgy. It envelopes us in a pervasive miasma, repugnant and gloomy. The correlations between the Partygate era and this opera cannot be ignored and allow us to draw our own conclusions about contemporary times. Having said this, there is both beauty and humour to be found here. The music, singing and choreography are exemplary. 

During the curtain calls the cast wear “Save our WNO” t-shirts referencing the recent loss of Arts Council funding. I do so hope the company can be saved. Brave, difficult versions of operas such as this deserve our support. 

Rosie Sharman-Ward

All views are my own and I pride myself on being honest, fair and free from influence. Theatre is subjective and it is important to remember that all views expressed are just those of one reviewer. 

My ticket for this performance of Rigoletto was gifted by the Theatre Royal Plymouth who invited me to watch the show on behalf of Pink Prince Theatre in exchange for my honest review. The fact that my ticket was gifted played no part in the content of my review or the star rating given. 

CAST LIST:

Daniel Luis de Vicente as Rigoletto; Soraya Mafi as Gilda; Raffaele Abete as The Duke; Nathanaël Tavernier as Sparafucile; Alyona Abramova as Maddalena; Paul Carey Jones as Monterone; Zwakele Tshabalala as Borsa; Martin Lloyd as Count Ceprano; Eiry Price as Countess Ceprano; Alastair Moore as Marullo; Siân Meinir as Giovanna; Francesca Saracino as Page; Julian Boyce as Usher

Acting Ensemble: Matthew Lloyd and Gerald Tyler as Bare Knuckle Boxers; Edward Kirby and Tom O'Gorman as Servants; Dafydd Weeks as Courtier; Meredith Lewis as Courtesan

Ladies of the Court: Jessica Handley Greaves; Siân Meinir; Sarah Pope; Francesca Saracino; Monika Sawa; Stella Woodman

Orchestra Conducted by Teresa Riveiro Böhm

RUNNING TIME (approx):

2 hours 45 minutes, including interval and a pause

CONTENT WARNINGS:

Simulated sex; Violence; Murder; Loss; Intense strobe light effects

AGE GUIDANCE:

16+

Sung in Italian with English surtitles