THE OPERA LOCOS at the Peacock Theatre

★★★★

“The show is impossible to compartmentalise – part operatic revue, part vaudeville – and total pleasure”

Five sensational opera singers share the stage in this hard-to-pigeonhole musical entertainment presented by Spanish company YLLANA (Artistic Directors David Ottone & Joe O’Curneen).

If any clue is in the title (locos = crazy), the gaudily colourful costumes confirm that this show is going to be wild. Alfredo (Jesús Álvarez, tenor) enthusiastically introduces us to the ensemble dressed in a fetching bottle green fat suit. Carmen (Mayca Teba, mezzo soprano) looks like an extra from the musical Cats, Franelli (Michaël Koné, counter tenor) is straight out of a Prince pop video. The men’s faces are painted white so that they resemble commedia dell’arte characters and all is enhanced by powerful lighting in dramatic reds and blues.

The five performers are part of an operatic troupe and we see them on stage and behind the scenes. Enrique (Enrique Sánchez-Ramos, baritone) gives singing lessons to Franelli, encouraging him to sing more manly whilst evading his amorous advances. Ditsy Maria (Maria Rey-Joly, soprano) has a crush on Alfredo and we watch their tentative steps in courtship. But Alfredo has troubles of his own, considering suicide as he acknowledges his fading talent and his enlarging waistline.

There is no dialogue at all. Intentions and feelings are portrayed through operatic aria, gesture, sighs, mime and more than a little clowning. The performers sing live to a recorded orchestral track and over the course of the show we hear hits from all the operatic greats: Mozart, Rossini, Verdi, Puccini, Bizet et al. But the gimmick here is that interspersed into the mix are bits of popular music too. Who knew that Rossini could segue so well into Mika’s Grace Kelly? Or Carmen into Whitney? One doesn’t need to know all the sources of all the tunes, but certainly it increases the fun when you’re able to recognise something and enjoy the a-ha moment.

All the singers get their moment in the spotlight and everyone nails it. Enrique’s Figaro is the highlight of the evening, although Maria’s Queen of the Night runs him close. And it’s fitting that the climax of the story should culminate in everyone’s favourite aria, Nessun Dorma from Alfredo.

Love, of course, will win out. Alfredo overcomes his inner demons with a lusty rendition of My Way and accepts the love of Maria. Enrique comes out of the closet to pair up with the pop-loving Franelli. Only Carmen remains uncoupled until she consummates her flirtation with a gentleman in the front row by bringing him onto the stage for the encores.

For me, the English language pop megamix which ends the show seems tagged on, and without the subtlety of what has gone before, but it brings the house down.

This multi-talented cast not only sing superbly but also act, mime, clown and boast expert comic timing. The show is impossible to compartmentalise – part operatic revue, part vaudeville – and total pleasure.

THE OPERA LOCOS at the Peacock Theatre

Reviewed on 8th May 2024

by Phillip Money

Photography by Lighuen De Santos

Previously reviewed Sadler’s Wells venues:

ASSEMBLY HALL | ★★★★★ | March 2024

AUTOBIOGRAPHY (v95 and v96) | ★★★ | March 2024

NELKEN | ★★★★★ | February 2024

LOVETRAIN2020 | ★★★★ | November 2023

MALEVO | ★★★★ | October 2023

KYIV CITY BALLET – A TRIBUTE TO PEACE | ★★★½ | September 2023

ALVIN AILEY AMERICAN DANCE THEATER AT 65 | ★★★★★ | September 2023

DANCE ME | ★★★★★ | February 2023

HOUSE OF FLAMENKA | ★★★★ | September 2022

MACHINE DE CIRQUE | ★★★★★ | June 2022

THE OPERA LOCOS

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★★★★★

“It is one of the finest pieces of theatre I have seen”

Simple8 present an ambitious adaptation (by Sebastian Armesto) of Herman Melville’s epic 1851 adventure, directed by Jesse Jones. There is a minimal set (designer Kate Bunce) of scaffolding on either side of the stage. Through the haze can be discerned a cache of musical instruments – fiddle, cello, dulcimer, drum.

Ishmael (Mark Arends) – a well-spoken, well-dressed schoolmaster – sets the scene. He has come to Nantucket to join a whaling ship, just for the experience. As he moves from bar to bar, he hears talk of the mysterious one-legged Captain Ahab, and the name Moby Dick, anathema to many, whispered in hushed tones. Overnight, Ishmael befriends the gentle savage Queequeg (Tom Swale), and together they join the whaling ship Pequod, fatefully chosen at random.

Now the story can start in earnest. The stage is transformed as the brilliant ensemble, singing and playing throughout, builds an impression of the ship using just wooden planks and ropes. A life at sea is recreated – swabbing the deck, sharing some rum, singing songs. If much of the period dialogue is somewhat stilted, the ensemble excels at their dumbshow set-pieces. The crew man the capstan, turning the imaginary wheel with cries of heave and haul, the efforts of their hard work clear to see. A beautiful rendition of a sailing ballad is heard (Jonathan Charles musical director) as the backcloth shines in green and blue reflecting on the romance of the sea (Johanna Town lighting designer).

And then the spell is broken by the sighting of the crew’s first whale. A most brilliantly conceived and executed scene ensues. The crew row out to chase the whale, to subsequently haul it in and demonstrably kill it. The stage is flooded with red light to emphasize the bloody nature of the deed. It is one of the finest pieces of theatre I have seen.

The narrative, as in the novel, is driven by Ishmael and Mark Arends gives a towering performance in this central role – quietly spoken but assured. Captain Ahab (Guy Rhys) does a lot of shouting – the mantra is “Kill Moby Dick” – but we don’t get to the bottom of his obsession beyond that of having lost a leg. The well-spoken Hannah Emanuel gives rather a too light touch in the important role of Mr Starbuck who is the only crew member able to stand up to Ahab. Something more appropriately rougher is provided by the first mates (James Newton & William Pennington). But this is ultimately an ensemble piece with music and movement (Rachael Nanyonjo movement director) central to the storytelling and this talented cast of actor-musicians are excellent throughout. Special mention too for the cellist whose imitative sounds of whale music, especially during the final chase, is so central to the effectiveness and poignancy of the scenes.

THE OPERA LOCOS at the Peacock Theatre

★★★★

“The show is impossible to compartmentalise – part operatic revue, part vaudeville – and total pleasure”

THE OPERA LOCOS at the Peacock Theatre

Reviewed on 8th May 2024

by Phillip Money

Photography by Lighuen De Santos

Previously reviewed Sadler’s Wells venues:

THE OPERA LOCOS

THE OPERA LOCOS

MOBY DICK at the Royal and Derngate Theatre

★★★★★

“It is one of the finest pieces of theatre I have seen”

MOBY DICK at the Royal and Derngate Theatre as part of UK tour

Reviewed on 10th April 2024

by Phillip Money

Photography by Manuel Harlan

Previously reviewed at this venue:

MOBY DICK

MOBY DICK