The Merry Widow

The Three Towns Operatic Society, St Joseph’s Hall, Chapel Street, Leigh

Ends Saturday

WITH an enchanting score and believable storyline, Franz Lehár’s The Merry Widow is brought to life in the latest production by The Three Towns Operatic Society.

The rich Merry Widow has a number of suitors after her, but will they stick around when they find out she becomes penniless on marriage?

Director, Allen Christey-Casson, has created an authentic production with outstanding costumes, scenery and a troupe of dancers — all of which add to the delight of this production.

Eileen Reeves sings effortlessly through the piece and is a delightful widow. Vilia was sung beautifully and complemented by the ensemble with great vocal harmonies brought together by musical director Rod Dakin.

David Reeves as Count Danilo was charming as ever. He confesses that he wants to marry the widow even if she is penniless, not knowing that her fortune goes to her new husband.

Victoria Goulden was on top form as Valencienne, the ambassador’s wife who, whilst secretly wanting to love another man, convinces her husband, Ambassador Baron Zeta, played with the right amount of bumbling by David Kay, that she is a highly respectable wife.

The subject of her affections is Camille, the Count de Rossillon, played with a quiet air by David Griffiths.

Colin Magenty gave a splendid performance as general factotum Njegus. Facial expressions are Colin’s specialty and we have plenty to look at.

The main principals were supported by a strong supporting cast adding to the high standard that we always receive from this company.

The set worked well and was dressed effectively with the required summer house being a focal point.

Attention to detail was apparent in the wardrobe department. The traditional costumes gave great visual effect and the wardrobe team deserve a mention for providing the audience with an array of stunning costumes.

The Grisettes of Maxims gave a great rendition of The Grisettes Song. The set of six dancers, provided by the Kathleen Atherton Academy of Dance, gave the production an air of sophistication with balletic routines which were totally in-keeping with this ever-popular operetta.

Paul Cohen