In the Market for Love (or Onions are Forever)

For October, the tumbledown marketplace – with overloaded handcarts, gingham cloths and a sanitiser-fountain centrepiece (a wry imitation of the Marché des Innocents’ famous cascades) – has been relocated inside the theatre. Perhaps the profusion of coronavirus quips and socially distanced antics – embraces encased in bubble wrap, nuptial vows sealed with a vizor-kiss – might have seemed frothier in the hopeful August sunshine, but the cast throw themselves in with aplomb.

Nardus Williams hits the chanteuse d’agilité peaks perfectly but also brings lyricism to the role of Ciboulette. A trio of cross-dressed traders – Mademoiselle Bouillabaisse (Brenden Gunnell), Madames Beurrefondu (Rupert Charlesworth) and Mangetout (Michael Wallace) – wrangle for the affection of Ciboulette’s beau, chef Harry Coe, sung with gamine perkiness by Kate Lindsey.

Jeffrey Lloyd-Roberts captures Raflafla’s good-heartedness through the bluster, while Matthew Rose’s Police Inspector tries to maintain order, but is undone by a Brussel sprout and a hip flask. The chorus and orchestra are sprightly under Ben Glassberg’s baton.