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Composer: Leonard Bernstein
Librettist: Richard Wilbur
Director: Dean Bryant
Cast: Annie Aitkin, Euan Fistrovic Doidge, Alexander Lewis, Dominica Matthews, Andrew Moran, Eddie Muliaumaseali’i, Eddie Perfect, Lyndon Watts, Cathy-Di Zhang
Images by Carlita Sari
Theatre review
Voltaire’s 1759 novella “Candide, ou l’Optimisme” sees its protagonist travelling the world, learning many of life’s big lessons before finally landing on solid ground. Leonard Bernstein’s musical operetta, simply named Candide, takes that big journey and transforms it into a wild fantasia, filled with colourful characters and comically bizarre scenarios.
Direction by Dean Bryant makes full use of the work’s absurd elements to manufacture a vivacious experience, chaotic and rambunctious in its imaginative renderings for theatrical amusement. Dann Barber’s ironic set design features a recreational trailer as centrepiece, magically unfurling scenic designs that represent the many cities in Candide’s journey. Barber’s costumes are extravagantly campy, and a clear highlight of the production. Lights by Matthew Scott imbue a sense of lavishness, effective at delivering enchantment, if slightly lacking in poignancy for the show’s concluding moments.
Leading man Lyndon Watts displays unequivocal technical proficiency in the role of Candide, but it is his charisma that many will find memorable. Annie Aitken is a delight as Cunégonde, offering exquisite vocals along with some truly splendid humour. Playing Voltaire (and Dr. Pangloss) is Eddie Perfect, whose affability and confidence provide for the staging additional polish.
On this occasion, Candide seems a celebration of frivolity and little else. Certainly there is space in the arts for lightness, but in any performance, surely an audience needs to feel some level of personal investment, to be held attentive in meaningful ways. It can be argued that little of Candide remains resonant, even though it is observable that people are meant to be having fun.