BWW Reviews: THE TALES OF HOFFMANN, Britten Theatre, October 10 2015

Hoffmann is boozing with the lads who are all pining for Stella, a star of the silent screen who has captured their hearts, but who is, of course, unattainable. To console themselves, they ask Hoffmann to tell them stories and, putting down his bottle for once, he obliges with three tales of lovers who, like Stella, proved beyond his reach.

The English Touring Opera's adaptation of Offenbach's The Tales of Hoffmann reins in the grander elements of the composer's ambition to write a grand opera, but retains its crowdpleasing set-pieces and, of course, its wonderful range of music. There's plenty in the score that will delight fans of Gilbert and Sullivan, there are also very clear indications of the roots of musical theatre peeking through too (Offenbach left the work unfinished at his death in 1880) and there's enough to please the opera buff looking for a new take on a familiar subject. Most important of all for a production that will spend the Autumn on tour, it is sung in English (with surtitles that help but are not necessary) and provides really splendid entertainment - if you're thinking of trying opera but wary of six hours of Die Meistersinger von Nürnberg, this two hour Hoffmann is a good place to start!

Opera is a multisensory experience and, remarkably for a touring show that is booked into relatively small venues (with no body-mics required it seems - and what a delight that is), the sets created by Oliver Townsend, supported by Mark Howland's terrific lighting, are a delight to behold, four very distinct environments created for the four very different settings. James Bonas's direction excels during the seamless transitions, as the pace is maintained and our attention always engaged - a trick very few shows can pull off without West End infrastructure behind the scenes. Philip Sunderland conducts a reduced orchestra, but does not diminish the power of the music, with plenty of those "Ah, so that's where that tune comes from" moments as we realise just how deeply embedded "opera's greatest hits" melodies are in 21st century culture.

For all that, an opera depends on its singers for its success. And what a joy it was to hear voices like these, ringing out, crystal clear, telling the tales. The eight singers are all excellent (and, crucially for this adaptation, can also act) - sometimes you have to remind yourself that there are only eight of them! Sam Furness's solid tenor leads as Hoffmann, singing pretty much throughout the show, getting fine support from Louise Mott, who also shows super comic timing as his Muse. Warwick Fyfe's rich baritone needs to be as good as it is to keep pace with his Arthur Rackham inspired crooked man with long fingers turn as The Devil, Hoffmann's nemesis, a villain whom we love to hate.

Last to appear, but, as the lead soprano, I feel the centre of any opera, Ilona Domnich delivers all three of Hoffmann's femme fatales - the led light-ribboned robot Olympia, the tragic singer Antonia caught in a Grand Guignol nightmare and the cruel courtesan Giuletta, who has powers to provoke murder. Domnich is particularly impressive in her puppetry skills (while singing, natch) in a laboratory that owed a little to Frank n Furter and a lot to Fritz Lang, but tremendous in the other roles too, a presence that commanded the stage at all times, without ever dominating with her supercharged soprano voice. It's a finely judged performance of three very different women (though each are actually different elements of the transcedent Stella), each of whom has plenty enough to capture the heart of Hoffmann.

Such a small company of singers and musicians produce so much that one wonders how long it takes them to get to sleep after giving their all - we can just be grateful that their talent, training and expertise is brought together for our pleasure. And a pleasure it really is.

Photo - Richard Hubert Smith

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