An ingeniously witty, all-out absurdist Candide from WNO
For a left-leaning, sexually complicated Leonard Bernstein in McCarthyite USA, Voltaire’s scathing Enlightenment satire Candide, ou L’Optimisme offered a tantalising vehicle for comic operetta. His own condemnation of “puritanical snobbery, phoney moralism, inquisitorial attacks on the individual, brave-new-world optimism [and] essential superiority” flopped on Broadway, however, and the subsequent journey of the work has mirrored the rollercoaster ride of its eponymous hero.
Today it remains problematic in (albeit revised) form and content, and its politics have arguably been softened by an increased focus on the romance between Candide and his beloved Cunégonde. Yet, as director James Bonas shows in his ingeniously witty, all-out absurdist new production for Welsh National Opera, Bernstein’s brilliance as a songsmith justifies its increasing popularity. More crucially, its resonance seems greater than ever in a world still riven with hypocrisy, political violence and social injustice – with numbers like Glitter and Be Gay taking on new life as forms of queer resistance.
Continues...
Claudia Boyle’s Cunégonde sings it lustily to a bunch of dancing bin men in a Pythonesque setting superbly driven by Grégoire Pont’s hand-drawn, interactive animations. Projected on to a dark, semi-translucent curtain – behind which Karen Kamensek snappily conducts the onstage WNO Orchestra – locations whip past and cartoon figures writhe. They are as much enactors of Candide’s hectic eclectic tale as Candide himself; a vocally warm and agile Ed Lyon, whose comic timing is matched with verve by Narrator-cum-Pangloss Gillian Bevan and an excellent tumble of cast, WNO chorus and dancers.
The mix of 1950s Americana, Euro kitsch and steam-punk 18th century works a treat, with neat punk allusions in Pangloss’ Vivienne Westwood hairdo and some glorious gender-bending – not least in Mark Nathan’s entitled narcissist Maximilian, and the pointedly twinned debauchery of the auto-da-fé and roulette scenes.
Candide and all around him are forced by a series of disasters to confront the jarring disconnect between the horrors of war, rape and religious extremism, and the callous optimism that such suffering is merely part of God’s design for “the best of all possible worlds”. Part-Gulliver, part-Phileas Fogg, Candide is in fact an abused refugee – but one who survives, thanks to a bizarre mix of murder and ‘miracle’, within which the sexual enslavement of Cunégonde, Paquette (Francesca Saracino) and The Old Lady (an outstanding Madeleine Shaw) is especially grim.
But none of Pangloss’ students actually dies – or at least, they always spring, cartoon-style, back to life. And of course, the ultimate irony is that, without some form of optimism, no such victim could survive. Indeed, in Bernstein’s clever Mozartian twist, Candide and Cunégonde turn out to be a kind of Tamino and Pamina, whose trials only bring them closer in determination to live simply, expressed in the concluding Make Our Garden Grow.
Wales Millennium Centre, Cardiff, and then touring until July 15. More more information, visit wno.org.uk/whats-on/candide
Invest in The Stage today with a subscription starting at just £7.99