Operetta / The Merry Widow, National Opera. At the Q, Queanbeyan until August 25. Reviewed by BILL STEPHENS.

National Opera does itself no favours by over-egging its publicity with hyperbole and making lofty claims of producing professional-grade performances.

Despite its best intentions, and based on this production, it still has a long way to go before it can fulfil that claim.

It was obvious that a lot of time and effort has been expended on this ambitious production, and no doubt the loss of its leading man at the last minute would have been demoralising, however raising unrealistic expectations can be risky if those expectations are not met.

While not wanting to discourage anyone from seeing this production, because any opportunity to hear Franz Lehar’s glorious score performed live is welcome, and in this case an attractive new arrangement of this score by Melvin Tay was very well played by the National Opera Chamber Orchestra under the direction of Louis Sharpe, and attractively sung by the large chorus.

However those wanting to follow the story might have difficulty with Ylaria Rogers’ idiosyncratic direction that treats the script like a panto with curious casting and shameless overacting encouraged.

Of the principals, Sarah Darnley Stuart as the widow Hanna Glawari gave a stylish performance, investing her role with a confident dignity and command, so lacking elsewhere. Her rendition of Vilia in the second act provided the highpoint of the show. A pity then that her first act entrance, which should have been another highpoint, was so poorly staged.

As the illicit lovers Valencienne and Camille de Rosillon, Alira Prideaux and Damian Arnold were well cast; offering stylish well sung and acted performances. However both had costume problems that detracted from their performances; Prideaux, distracted by constantly tripping over her first-act costume, and Arnold by chasing cheap laughs with his tacky costume interpolation when discovered in the gazebo.

Bravely stepping into the role of Count Danilo Danilovitsch at short notice, replacing an injured Sitivani Talei, Wally Allington performed with aplomb and managed his arias well. Hopefully, first night over, he will work on developing some chemistry with his leading lady.

Eryn Marshall’s drapery setting was an imaginative solution to a no doubt limiting budget. It looked particularly lovely in the second act, but elsewhere gave little indication as to location. Although in the final act the energetic team of can-can dancers left no doubt it could only be Maxims.

Similarly, Helen Wojtas did wonders in providing sparkle and glamour with her costumes. A shame that more attention wasn’t paid to the men’s costumes which generally looked scrappy.

“The Merry Widow” is a demanding work that can be everything the publicity promised. Unfortunately, this production isn’t.