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Canberra Today 8°/11° | Friday, May 24, 2024 | Digital Edition | Crossword & Sudoku

Review: ‘Kismet’ an exciting spectacle

Rebecca Doyle Photography_Kismet_028RW (2)

A LUSH, romantic Eastern fantasy, with music adapted by Robert Wright and George Forrest from the works of Alexander Borodin, “Kismet” makes considerable demands on any community theatre group undertaking a production, requiring principals with voices of operatic standard, a large orchestra and chorus, and lavish sets and costumes, to do the work justice.

However, with this new production, under first-time director, Peter Smith, Queanbeyan Players have largely succeeded in ticking all the boxes.

As the fast-talking conman/poet who murders the wicked Wazir, to free his daughter, Marsinah, from an unwanted marriage, so that she can marry the Caliph and he can co-habit with the Wazir’s wife, Lalume, Don Bemrose leads the cast with an attractive performance.

His solos, including “Fate” and “The Olive tree”, show off his rich warm baritone to great advantage, while his acting is relaxed and convincing.

Rebecca Doyle Photography_Kismet_011RW (2)

As pretty as a Disney princess, Rosanna Boyd as Marsinah, has the voice to match her looks, and she is beautifully teamed with the silver-voiced Thompson Quan Wing, who as well as playing the love-lorn Caliph superbly, also designed the set. Michael Politi, hard to hate as the villainous Wazir, and Stephanie McAlister, delightfully voluptuous as his wife, Lalume , both reveal excellent singing voices, as does Marcus Hurley as the bangle man, while the large ensemble provide confident, robust support in the many well-staged crowd scenes.

Although Jennifer Groom’s impressively large orchestra was still struggling with the demands of the difficult music score on opening night, sometimes out of tune and out of time, especially in the overture and entr’acte; when it all comes together in the big choral numbers such as “Baubles, Bangles and Beads” and “Night of My Nights” or in the lovely duet, “Stranger in Paradise”, the effect is thrilling.

By distilling the various locations into one large set-piece, embellished by screens and lattices as required, Thompson Quan Wing’s setting provides an attractive background for Janetta McRae’s colourful and flattering costumes, and Belinda Hassall’s imaginative dances for the various princess, and her well executed concerted movement for the large ensemble add to the spectacle of a production.

Despite limited resources, the production captures much of the spectacle and excitement of a form of musical too rarely seen on present-day stages, and a hugely enjoyable evening of theatre. Highly recommended.

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