Theatre Royal, Waterford:Written to coincide with the opening of the newly renovated Theatre Royal, Bernard Farrell's musical play is a charming historical comedy that brings two forgotten heroes of Irish opera to life: Waterford-born William Vincent Wallace was the composer of Maritana, a permanent part of the popular repertoire for a century after its premiere in 1845; Dubliner Michael William Balfe was most famed for The Bohemian Girl, from which I Dreamt I Dwelled in Marble Hallsremains familiar. The librettos for both of the composers' most famous works were written by their manager, Alfred Bunn, who is the thrid main character in Farrell's play. Despite their contemporary fame, the work of each of the musical aficionados is threatened with obscurity in the 21st century.
Structured by a self-conciously theatrical conceit, Farrell firmly roots the action in the present, bringing the ghosts of the composers and their producer to this stage-set limbo. Self-styled "theatrical impresario", Mr Alfred Bunn, is in charge of proceedings, hoping to reinvigorate the reputation of his two star composers, and to bring to life his own memory at the same time. However, Wallace and Balfe turn out to be an unruly pair of rivals – in death as in life – refusing to stick to his script. The composers are more than willing, however, to stick to their scores, instructing the orchestra to play their most famous compositions in what becomes a sing-off of operatic X-Factorproportions.
Darragh Kelly and Sean Campion, as Wallace and Balfe, battle over petty details like two old women, but they are calmed by the rising melodies of their musical excerpts; moved by their own work, as well as the work of their competitor. Malcom Adams plays Bunn as an unsure entertainer, fishing for compliments and vying for approval. A chorus of 14 brings the music to life with passion: the solo voices of Orla Colleton, Caroline Reid O’Brien, and especially Dominic McGorian, making a convincing case for the resuscitation of the forgotten classics.
Under the luminous clock of Blaithin Sheerin’s design, Ben Barnes’ unfussy production is firmly set in real time, complementing the double vision of Farrell’s play, his insistence on acknowledging the role of the present-day audience in ensuring the music’s survival. The intimate Theatre Royal, with it subtly polished renovation, perfectly complements this agenda too, remaining true to its Victorian origins, while functioning as a modern, fully functional and comfortable contemporary theatre space.
Yet while the past is paid tribute to, and the present acknowledged, the production fails to invoke the future. The small, and almost entirely elderly audience confirmed the necessity of engaging with a younger audience in order to ensure the theatre’s survival. Runs until November 14th
