Review: York Opera in The Beggar's Opera; Rowntree Theatre, York

11:21am Friday 16th May 2008

Clive Marshall's production for York Opera comes as a powerful reminder of one of the most imaginative creations in our history - effectively the first "musical" in the modern sense, and one ostensibly concerned with "low life". Actually, of course, John Gay's libretto makes it quite clear that upper and lower classes are equally prone to greed and deceit, so making us all laugh at ourselves.

Nearly three-quarters of its songs are English or Irish ballads, some of which - Lilliburlero or Over The Hills And Far Away, for example - we still remember. But all are brief and catchy, which makes for a breezy show. This one is perhaps a little breezier than it might be because the excellent eight-piece orchestra, directed from the harpsichord by Steve Griffiths, is situated at the back of the stage where it can be only partially seen between the two halves of the immovable set. This probably improves the balance with the voices, but with the singers' backs permanently towards the conductor, the results are sometimes bumpy.

Marshall's own cobwebbed set works well. Maggie Soper's costumes complement the Hogarthian ambience. But the mainstay of the evening is Ian Small's outstanding Peachum, around whom all the shenanigans ultimately revolve. Despite his scheming and plotting, he manages to radiate charisma through crystal-clear diction. Many of his colleagues sing with more clarity than they speak.

An exception is Pauline Chadwick's witty Mrs Peachum. Claire Holdich's idealistic Polly and Tracy Bowen's more street-wise Lucy Lockit, rivals for Macheath's affections, are well matched. Alex Holland's polite Macheath is more womanised than womanising, while tending to garble his words.

A pleasing, very English, evening.

Editor's choice