Paul Bunyan – review

Under a Stars and Stripes duvet, a young boy watches TV: this is the tale of American lumberjack hero Paul Bunyan, sharing his vision of the great American dream as interpreted by librettist WH Auden and the 28-year-old Benjamin Britten. Welsh National Youth Opera's new production is a sort of Let's Make an Opera for budding singers. Since Paul Bunyan hardly scores in the general consciousness – most people would be hard-pressed to identify the composer of this curious kaleidoscope of American musical styles – it's an interesting bit of centenary flag-waving.

The Bunyan of legend – in fact a PR construct – is a giant. With the eyes and nose of Stephen Fry as the great man projected on to a backdrop – his voice delivers Bunyan's spoken words – the production has a hugely resonant presence. If there was a look of Monty Python's Lumberjack Song to the production, that was all to the good; director Martin Constantine, designer Cai Dyfan and choreographer Jem Treays harnessed the super-abundant energy into one surreal flow. In such an all-singing, all-dancing affair, adapting the narration to include the whole cast added a frenetic feel, but the chorus sound, boosted by Only Boys Aloud, was terrific. Some strong vocal and instrumental prospects advertised themselves, with Alice Farnham's conducting the driving force.

Bunyan may loom largest, but Johnny Inkslinger – a cipher for Auden himself – is the main focus, and here Elgan Llyr Thomas's tenor shone out as a real hope for the future. While the perceptible darkness of the opera marks Britten's prospective way, Constantine made it culminate in a closing moment in which Johnny, ostensibly ecstatic at his golden Hollywood opportunity, holds a revolver to his head – leaving a crucial question mark over the ultimate dream.