REVIEW

Oberlin Opera Theater

What:

Bernstein's "Candide," staged by Jonathon Field and conducted by Joseph Mechavich.

When:

8 p.m. Friday and Saturday; 2 p.m. Sunday.

Where:

Hall Auditorium, 67 N. Main St., Oberlin.

Tickets:

$5, students; $8, Oberlin College faculty, staff, alumni, parents, area educators, seniors; $12, general public. Call 800-371-0178 or go to

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Life is not always happiness, indeed. Or is it?

To wit: "Candide," the musical with a glorious score by Leonard Bernstein and words by a kitchen-sinkful of distinguished writers, has been a problem child ever since its Broadway premiere in 1956. The work went on to numerous revisions, none of which resulted in a completely satisfying theatrical endeavor.

But Bernstein's rich, whimsical music is reason enough to tackle this challenging take on Voltaire's satire of worldly pleasure and evil. The Oberlin Opera Theater bends over backwards, forwards, sideways and myriad other ways to instill life into its blissful production of "Candide."

The version used in Oberlin is credited to Hugh Wheeler, who came up with a new libretto – to replace the perfectly credible, but no longer available, original Broadway text by Lillian Hellman – for the 1974 New York revival. Like Voltaire's book, Wheeler's scenario is a roller coaster of events.

The work's frenetic nature has not been lost on Jonathon Field, whose inventive Oberlin staging emphasizes the artifice by making clear distinctions between the 18th-century players and modern-day ensemble that acts as Greek chorus and stage crew.

Michael Louis Grube's turntable set, Chris Flaharty's colorful costumes and Carol Hageman's zany choreography add vibrant character to the production, which exults in the theatrical possibilities in this most operatic and operetta-like piece of musical theater.

"Candide" retains its stature because Bernstein's voracious musical appetite conveys Candide's journey from optimism to realism with endless suavity, humor and feeling. As the cast faces us at the end to sing "Make Our Garden Grow," we're grateful that a difficult expedition has taken us to so many inspiring and frolicsome destinations.

The Oberlin forces let you know what an exhilarating ride it is. After a bit of early hesitation, guest conductor Joseph Mechavich gave the score requisite affection and spunk. The Oberlin Chamber Orchestra, if too loud at times, abounded in elegance, vitality and cohesion.

The opening night cast, which also performs Saturday, could have made more of words and applied less relish to the foreign accents. But their characterizations were funny or touching across the board, and the voices sent Bernstein's music soaring.

Adrienne Sereta, dolled up (literally) in frilly dress and curly wig, was a delectably clueless and feisty Cunegonde with a coloratura soprano of wondrous precision and tonal focus. She made a sumptuous meal of "Glitter and Be Gay."

As Candide, Roy Hage used his football frame and fresh tenor to endearing effect. Alexandra Roth poured enough borscht into her droll portrayal of the Old Lady for a chain of Russian Tea Rooms.

Austin Bradley's Maximillian had the right preening lunacy, Alex Boyd excelled in a quartet of roles (including Voltaire and Pangloss), Sara Casey made a peppery Paquette and Corey Arnold’s Governor oozed slimy charm.

The ensemble also deserves high praise for undertaking many roles and theatrical functions with great panache while treating Bernstein's choral writing as if it attained Verdian grandeur. Which, of course, it does.