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National Operatic & Drama Association (London Area) Report

Opera Nova's production of Carmen attracted an appreciative audience of opera lovers when it was performed in Eltham.

Paul Govier Simpson's direction was secure and allowed both chorus and principals to show their enjoyment of Bizet's music. Good use was made of the small stage, particularly in Act 3 'at night in the mountains above Seville' but in Act 1 much more could have been made of the chorus who appeared to have little to do until the cigarette factory girls' skirmish which was well orchestrated, then there was a sense that the chorus had been given specific roles to enact. Robyn Sevastos, as Music Director, had schooled the singers well and the orchestra was well balanced.

Hilary de Santos, Carmen, gave a spirited rendition of the lusty and provocative gypsy of the title which contrasted well with the rather love-lorn and naive Don José, played by James Hodgson. Janine Button's Micaëla was sweet, clear and unworldly, the antithesis of Carmen, and she was delightfully harassed in Act 1 by Ian Massa Harris in the guise of Morales. Captain Zuniga, Paul Bray, worked hard at keeping his troops and the 'locals' under control. Tim Baldwin gave a strong and forceful performance as Escamillo. Frasquitta, Janette Cattell and Mercédès, Grace Cookey-Gam, worked well together and were interesting and flirtatious. Peter Calver, Dancairo and James Scarlett, Remendado, were convincing leaders of the snuggling band, and stalwart, Anthony Packenham, proved an effective Lillas Pastia.

The chorus, who sang well, came into their own as far as movement was concerned in the latter part of Act 1 and in Act 3 but at other times seemed to hug the back of the stage. There was some spirited dancing from Las Curvas Peligrosas who gave authentic sound and atmosphere to Lillas Pastia's tavern.

The costumes in the main looked lovely but there were some which hung badly and needed to be altered to ensure a better fit. The lighting was well controlled and suitable for the various settings but some of the lanterns were not quite centred and there were some dark shadows against the backcloth in Act 1 which intruded and the sense of a sunlit Spanish square was obscured. The scenery was ingeniously used in Act 3, 'on the mountain pass above Seville', and its transformation in Act 4 to the plaza was effective.

Overall, an enjoyable production of this well-known piece by Bizet. Well done to everybody who worked so hard as Carmen is notoriously difficult to stage.

Chris Williams, NODA

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The Cast

Carmen
Susan Garrett / Hilary De Santos
 Don José
Gari Glaysher / James Hodgson
Micaëla
Jane Barnes / Janine Button
Frasquita:
Janette Cattell / Carole Fisher-Grant
 Mercédès:
Grace Cookey-Gam / Sarah Ince
 Escamillo
Tim Baldwin / Laurie Kubiak
Dancairo
Peter Calver / Matthew Stainer
Remendado
Colin Decker / James Scarlett
Zuniga
Paul Bray / Ian Massa Harris
 Morales
Ian Massa Harris / Georg Torman
 Lillas Pastia:
Anthony Pakenham
Featuring
Las Curvas Peligrosas Flamenco troup:
Sandra, Cherie and Claire

Production Team

Director
Paul Govier-Simpson
Music Director
Robyn Sevastos
 Set Design
Adrian and Carole Pope
 Lighting Design
Ivan Buckle
Stage Management
Maggie & Alan Matthews

A Sensual Experience

Following a successful run at the Crofton Halls in Orpington, Bromley-based Opera Nova brought its new production of Bizet's Carmen to the Bob Hope Theatre for three performances last week. Directed by Paul Govier-Simpson, this was a very traditional interpretation of the work but the quality of the sets and the vocal abilities of the cast reflected the professionalism of a company that can simulate the power of large scale productions in even the smallest of theatres. With the principals alternating their performances, Friday evening's Carmen was delightfully played by Susan Garrett who is a mezzo soprano of great quality. And although she was less sexually animalistic than some who have played the part before her, there was an almost mischievous sensuality in her portrayal that was equally rewarding.
Expression
As Carmen's ill-fated suitor Don José, Gari Glaysher began the show as if he had little faith in his voice while his acting lacked expression. Then, almost miraculously, he took the role by its throat and proceeded to bring real dramatic power to every element of his performance. Indeed, the undoubted impact of the final death scene owed much to the anguish he displayed when imperiously spurned by his former gypsy lover. Glaysher's voice is not yet that of a classic tenor but it is already eloquent and capable of much greater things. Soprano Jane Barnes made an appealing Micaëla while bass baritone Laurence Kubiak's portrayal of the Matador Escamillo had an authoritative air. However, the matador slippers he wore throughout looked incongruous as part of his normal clothing. Good chorus work, effective flamenco dancing by the Las Curvas Peligrosas group, and a very good orchestra conducted by Robyn Sevastos helped to earn the cast the six encores they received on the night.

Roy Atterbury, Kentish Times