The new Candide at MusikTheater an der Wien is a kaleidoscopic celebration of Leonard Bernstein's varied musical idioms. Under the imaginative direction of Lydia Steier, the production embraces the challenge presented by a genre-defying work that seamlessly weaves together elements of Broadway musical, comic opera and European music traditions. Steier's stage is a dynamic canvas, oscillating between puppet theater, nostalgic vaudeville aesthetics and extreme camp. Each scene is a visual tapestry, from stylized dance numbers evocative of old Broadway to provocatively trashy elements, creating a captivating blend of theatrical styles.
This uncommon staging of Candide helps navigate the complexities of its narrative, loosely rooted in Voltaire's satire. The plot, a wickedly satirical response to Enlightenment optimism, follows the naive Candide on a calamitous journey through a world rife with disasters, wars and human awfulness. Steier skillfully maintains a twisted, fairy-tale atmosphere, infusing even the darkest moments with a whimsical charm.
Momme Hinrichs' stage design adds an extra layer of theatricality. A tiered structure with illuminated frames recalls Broadway, and the bright, cardboard cutout backdrops contribute to a visually stunning production which constantly reminds the audience that they are in the theater. Scenes of dancing war veterans, floating heads of state in orange life preservers, an old man celebrating syphilis, Cunegonde's “Glitter and Be Gay” reimagined as a gang bang, murderous clergy dancing as corpses are strung up, glittery toreros in Virgin Mary-adorned underpants (costumes by Ursula Kudrna), every visual tableau is fabulously – and grotesquely – compelling.
Candide was a notable Sorgenkind for Bernstein and its initial Broadway run was short-lived. He reworked the music, structure and libretto multiple times with the assistance of a raft of helpers, including Stephen Sondheim, John LaTouche, Dorothy Parker, Lillian Hellman and John Wells. Though still not a perfect work (it absolutely loses the plot in the second half), Steier has fashioned a cheekily fresh interpretation. Rather than shying away from the work’s inherent challenges, she embraces them with enthusiasm, crafting a theatrical experience that pays homage to Bernstein's stylistic flexibility and takes satire to a new level.
Musically, two film stars of the moment are very much centered. Not only did Maestro threaten to sweep the awards this year (sorry, Bradley), but Marin Alsop (star of the documentary The Conductor, not Tár), a protégé of Bernstein, was a standout. She navigated the Radio-Symphonieorchester Wien, who have never sounded better, through Candide’s tricky musical landscape seamlessly, at a dynamic pace, turning on a dime between the tuneful, the operetta, the fandango and the Stravinsky of it all. Despite the challenging acoustic environment of Halle E, Bernstein's music resounds with brilliance.
The cast delivered exceptional performances. Bernstein offers no show-stopping numbers to his protagonist, but Matthew Newlin captured Candide's youth and naivety ideally with his beautiful tenor and ability to maintain a line, while Nikola Hillebrand, as Cunegonde, absolutely sparkled, especially in her more provocative scenes, getting to showcase her spectacular coloratura and fearlessness. The entire evening was held together by Vincent Glander, the wryly hilarious narrator. Helene Schneiderman was a further standout as the Old Woman, as was Ben McAteer, dual cast as Dr Pangloss and Martin. There was not a weak link in the bunch, and in the many group scenes, the Arnold Schoenberg Chor, as well as a veritable fleet of minor characters and dancers, were perfectly choreographed by Tabatha McFadyen, holding the energy at 11.
Thanks to Steier's bold directorial choices, creative stage design, a stellar cast and Alsop's masterful orchestral direction, MusikTheater an der Wien's Candide, is a must-see. As far as Bernstein's patchwork stylings are concerned, it is the Best of All Possible Satires.
