Despite a title promising high-spirited antics, “The Merry Widow” uncorked on New Year’s Eve at the Metropolitan Opera is oddly muted in the glee department.
Yes, Franz Lehar’s score in this 1905 operetta is lively and lovely — and wonderfully showcased under the baton of Andrew Davis. Yes, the cast — a mix of Met and Broadway MVP’s — led by the renowned Renée Fleming in the title role delivers. And, yes, there’s plenty of eye candy to go around between the sets and costumes summoning 1900 Paris.
Too bad the production is so very talky and lumbering. Two sluggish acts go by before this vision guided and choreographed by Susan Stroman, of “The Producers” fame,” in her Met debut, snaps to life. The moment arrives in this tale set in Paris in 1900 on the high-kicking heels of zesty can-can dancers.
Until this invigorating ooh-la-la, this “Widow” can’t-can’t hold you rapt. Besides the leaden pacing, a major issue is that jokes in this take (in English) by Jeremy Sams don’t land. Instead, they float in mid-air and are swallowed up on the massive stage. It’s not a boon to buoyancy to say the least.
In spite of issues, performances are very fine. Fleming brings warmth and sweetness to her vocals as the rich Hanna Glawari, who holds the key to keeping her near-bankrupt nation afloat. As her once and future lover who can’t utter the words “I love you,” Nathan Gunn is handsome in every way. He even makes Danilo’s goofy response to Hanna’s declaration of love tolerable — it’s “Ditto,” seemingly inspired by the movie “Ghost.”
Five-time Tony nominee Kelli O’Hara, in her first at-bat at the Met, bats her eyes playfully and sends her bright and silvery soprano to the rafters as Valencienne, a naughty wife with a roving eye. The focus of her amorous attention is Camille de Rosillon, a hunk expertly played by Alek Shrader.
When all is said and sung, “The Merry Widow” climaxes in happy endings all-around. Ditto for this mixed-bag production.
jdziemianowicz@nydailynews.com
