Original Director: Phyllida Lloyd
Revival Director: James Hurley
What is it about a story of love and loss and struggling artists that retains its constant appeal? Revival director James Hurley has ensured that Opera North’s La Boheme, originally directed by Phyllida Lloyd, is as relevant and engaging as in its first iteration at the end of the 19th century.
The notion that artists struggle – for both money and recognition – is enduring and strangely romantic – to suffer for one’s art. Opening in a Parisian garret, splattered with paint, with a filthy, empty fridge and an ill-stoked stove, four artists huddle in sleeping bags and blankets wondering which work of art or piece of furniture they can burn to keep warm.
It’s Christmas Eve and the landlord is demanding rent from the poverty-stricken quartet who are his tenants. A wonderful scene ensues between them with great comic characterisation of the less than honourable landlord, Benoit (Jeremy Peaker) – an early highlight of this brilliant piece.
Rodolfo (Anthony Ciaramitaro) is alone in the apartment when Mimi (Olivia Boen) enters, ill and shaking, to ask for a light for her candle and this sparks a romance. The burgeoning lovers are then thrust into a scene which is as warm and lively as the attic room was cold and despairing. Suddenly they are out in the street, which is bursting with festive shoppers and excited children clutching gifts and trinkets. A huge revolving banquette creates a joyful and welcoming bar scene in which the interplay between the various current and former lovers develops.
The third act opens in a way which is so familiar it could almost have been recreated from a live webcam in Leeds, with scantily clad girls trying to attract the attention of passing marines whilst Rudolfo argues with Mimi and Marcello (Yuriy Yurchuk) confronts the flirtatious and witty Musetta (Elin Pritchard).
The musical performances in this piece are wonderful – Ciaramitaro’s Rudolfo is richly emotive and his voice soars whilst Mimi’s tragedy is beautifully expressed by Boen. Their relationship chemistry at times takes a back seat but vocal quality is never diminished.
The Opera North chorus and orchestra, under the baton of Garry Walker, is magnificent and buoys the cast with Puccini’s entrancing, romantic and passionate melodies. Also, of special note is the children’s chorus which throngs the stage in the second act and is both very well drilled and wonderfully tuneful and confident.
Mimi’s demise is movingly rendered and touching, Musetta taking practical steps to try and save and comfort her, whilst the men look on despairingly and helplessly. It would take a heart of stone not to be moved by this beautiful production.
Runs in Leeds until 22nd November and then on tour.
