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by Franz Lehár, directed by Anne Allan

Toronto Operetta Theatre, Jane Mallett Theatre, Toronto

December 28, 2007-January 6, 2008

Enjoying a show by Toronto Operetta Theatre has become one of Toronto’s favourite ways of seeing out the old year and seeing in the new.  This season the TOT presents Franz Lehár’s The Count of Luxembourg (1909), an operetta not seen in Toronto since the TOT last staged it in 1985.  It’s too bad this work has had to wait so long for revival since it is one of Lehár’s sunniest pieces, filled to bursting with one gorgeous melody after another.  It’s also too bad that lacklustre direction prevents the present production from being more effective.

The iconic image of the piece is the marriage of Count René of Luxembourg (Keith Klassen) with the opera-singer Angèle Didier (Elizabeth Beeler) with a screen between them to conceal their identities.  When they divorce in the arranged three months, the impoverished René will be a half million francs richer and Angèle will have a title thus allowing the batty Russian Prince Basil (Rory McGlynn), who conceived the scheme, to marry her.   In a twist that allows Lehár to examine the intertwining of love and fate, René and Angèle later fall in love without knowing that they are already husband and wife. 

Director Anne Allan is best when she focusses on this central irony.  Klassen and Beeler are both excellent in conveying the mixture of delight and confusion of the couple as love mysteriously draws them together.  Allan, however, doesn’t know how to deal with the character of Prince Basil.  He is a fantasist more in love with love than anyone in particular.  Allan misses this and allows McGlynn a bizarre accent that comes from everywhere except Russia and obscures most of what he says or sings.  Dodgy accents also cloud the words of the Grand Duke’s three attendants.  These four can be extremely funny, but the comedy is only clear if we can understand them.  Allan’s tentative pacing robs the action the usual zip that TOT productions usually have. 

Musically, the production is on firmer ground.  Beeler’s singing is a pleasure from first to last marked by detailed characterization and effortlessly soaring high notes.  Allison Angelo as Angèle’s friend Juliette has a lovely rounded tone and a fine sense of comedy.  Klassen’s tenor has become richer over the years and is as forceful as ever.  Kevin Mallon chooses some rather slow tempi for certain numbers, but he draws fine, committed playing from the 17-member orchestra and excellent singing from the chorus.  The Count of Luxembourg is such a fascinating work, filled with both joy and mystery, operetta fans should not hesitate.  Let’s hope the TOT doesn’t wait another 22 years for its next revival.             

©Christopher Hoile

Note: A version of this review appeared in Eye Weekly 2008-01-04.

Photo: Keith Klassen and Elizabeth Beeler. ©Gilberto Prioste.