Scottish Opera: The Merry Widow, Glasgow review: 'a dizzying theatrical tsunami'

Scottish Opera: The Merry Widow, Theatre Royal, Glasgow ★★★★

To appreciate this brazen new Scottish Opera production, nay re-envisioning, of Franz Lehár’s 1905 operetta The Merry Widow, there’s absolutely no place for preconceptions.

Gone are the fin-de-siècle Parisian glamour, haughty socialites and syrupy comedic intrigues of high society, to be replaced by the Mafia world of 1950s New York and Sicily, with all its hard-edged hierarchies, callous manipulation and a radical new translation (by director John Savournin and writing partner David Eaton) that blends acid cliches from The Godfather with the comic caricatures of, say, Bugsy Malone.

Paula Sides (Hanna Glawari) in Scottish Opera's production of The Merry Widow | Mihaela Bodlovic

The secret to Savournin and his team’s success lies in the unrelenting self-belief of its delivery. A resounding flourish from the Scottish Opera Orchestra (lush, fiery and passionate under music director Stuart Stratford), accompanied by cinema-style credits, sets in motion a dizzying theatrical tsunami, an evening of hyperactive physicality, athletic characterisation and plenty of fine singing. Rarely has a Scottish Opera audience laughed so much, or so heartily.

The cast buy into it entirely, not least the powerful frontline duo of Paula Sides, classy and compelling as wealthy widow Hanna, and Alex Otterburn, an ardently complex presence as Danilo. Henry Waddington’s ruthlessness as Don Zeta, now a Mafia supremo, gains warmth through his calculated incompetence; Rhian Lois glistens as Valentina, his wayward wife.

Alex Otterburn (Danilo) and Henry Waddington (Don Zeta) in Scottish Opera's production of The Merry Widow | Mihaela Bodlovic

A menagerie of stereotypical hoodlums do their bidding, from Matthew Kellett’s frenetic capo Nicky Negus to mobster duo Cascada (Christopher Nairne) and Briochi (Connor James Smith). William Morgan’s lean tenor doesn’t always pass muster as Rosillon, a mob-sponsored jazz singer.

The Chorus are a spectacular riot, Kally Lloyd-Jones’ choreography eye-catching, the sets by designer takis oozing colour, character and detailed opulence. At times, the dialogue can seem overlong, even repetitive, but sheer entertainment wins the day.

On tour around Scotland until 28 June, see www.scottishopera.org.uk