Stiletto review

Luscombe’s exposition-heavy story has all the heightened reality of a grand opera – a tale packed with love, lust, murder and intrigue. Yet despite Borroni’s evident anguish, the book never finds its focus. Borroni is prepared to do anything to save the seemingly doomed Gioia,but their romance is woefully underwritten, with barely a single duet in the show. Similarly, secondary characters are given rather indulgent solo musical numbers, which stand-up musically, but distract emotionally from the thrust of the plot.

Wilder’s urgent score never quite takes flight, despite some bold, billowing melodies and marvellous orchestrations from Simon Nathan. There may be an operatic exuberance to the songs, but Borroni’s Mother, Father simply doesn’t have the transformative effect it should, despite the valiant efforts of vocal double Jennie Jacobs. His voice is a sound that should explain the whole show, but here it’s presented in just another musical number.

Gilmore’s undemanding direction is elevated by Chris Baldock’s quirky musical staging and some fun character performances, most notably Hampson as the outspoken, love-starved Countess. Alex Anstey proves an absolute hoot as a camp Cardinal, who winds up at the wrong end of the titular stiletto dagger. Chambers’ earnest performance as Borroni is engaging enough and does justice to some of Wilder’s more angst-driven musical numbers. The warmth on stage, however, is provided by Hutchinson, who lends absolute charm to Wilder’s Non Piu/God Given Gift.

Considering its incendiary themes, there’s more than a touch of Disney styling to the show, from the chirpy chorus of jolly villagers to the multiple declamatory solo ballads from a range of young men. Musical director Jae Alexander leads an impressive orchestra, but Wilder and Luscombe’s creation requires a much stronger focus to match it.

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