By Reviewed by Martin Duffy
Victorian Opera Playhouse, Victorian Arts Centre
Until March 27
OPENING its 2012 season, the Victorian Opera presented The Rake's Progress, a Faustian tale of bedevilment, descent and destruction. Stravinsky's opera was a collaboration with librettists W. H. Auden and Chester Kallman after the satirical 17th century engravings by William Hogarth.
John Bell (centre) directed the Victorian Opera production of The Rake's Progress.Credit: Rodger Cummins RCZ
Excitingly, this production is also a collaboration, between director John Bell, assistant director/choreographer Steven Heathcote and conductor Richard Gill. As the downfall of hero Tom Rakewell progresses, Bell attempts to humanise his character and entreats us to find compassion rather than condemnation.
Yet as a morality tale it appears to have lost some grit in its telling. In this pared-down production it is not the absence of spectacle, but rather the occasional lack of intensity that fails to grip. Tom's Act II rejection of Anne fails to shock as it should, as does the extent of his downfall and the impossibility of his redemption.
Although possessed of a fine light tenor, Benjamin Namdarian as Tom is more errant choirboy than miscreant rake. Suitably malevolent is Andrew Collis as the thinly disguised devil Nick Shadow. Tiffany Speight as Anne was true of voice as well of love, appearing untroubled by the demands of the score and bringing depth to the role.
The chorus provide fine vocals and engage in visual action in support of the drama, their stylised movements reinforcing the inner turmoil of the protagonists and in turn ourselves. Occasionally overpowering our Tom, there were admirable performances by Orchestra Victoria, managed ably by Gill.
Quibbles aside there is much to like in this production, which has a limited season.