Emma Knight Productions and Karen Lettice Productions. Space Theatre. 4 Dec 2014
Written by Pulitzer prize winner Gian Carlo Menotti in 1951, ‘Amahl and the Night Visitors’ is a one-act Christmas opera for children and was the first ever written specifically for television. It has since become an annual tradition but it has been many decades since it was last performed in Australia.
It is set at the time of the birth of Christ and concerns a young lame shepherd boy Amahl and his destitute mother. One night they are visited by the three Magi who, with their gifts of gold, frankincense and myrrh, are on their way to Bethlehem to worship the Christ child. The mother provides them with shelter for the night but has no refreshment to offer. In her desperation she is later caught stealing a piece of gold but she is forgiven and Amahl offers his wooden crutch as a gift. He is immediately shown God’s grace and is healed. Able to walk again he asks if he can accompany the three kings so that he too can worship Christ.
This production has been a labour of love for co-producer Karen Lettice, who also sings the role of the Mother. The production team and cast is derived exclusively from Adelaide talent and there is plenty of it.
Damon Hill’s representational set is simple and assists the action to flow well, but it is perhaps lit too uniformly and doesn’t reek poverty.
Olivia Freear’s costumes contrast the peasant folk with the richness of the kings, but there is a medieval feel about it – not 1st century Israel.
Vanessa Redmond’s spirited choreography was a highlight of the production, and would have worked even better if the dance routines came across as being performed for the entertainment of the three Kings rather than for the audience. Apart from this oversight, Andrew McKenzie’s direction was tight and he allowed his principals the freedom to use the acting space.
Ian Boath’s small orchestra was at the top of its game, and Josh Oates on oboe and Sachiko Hidaka on piano were particularly fine.
The Magi were played enthusiastically by Branko Lovrinov, Andrew Turner and Keith Hempton. Karen Lettice’s tight vibrato suited the anxiety of the role she played but the lightness of her voice got lost in the cavern that is the Space, as did Aidan Hutson-Hill’s light treble voice, which was a shame as his characterisation was quite touching. The large chorus was well disciplined and their careful articulation made them sound as one, which is precisely the way it should be.
A lot of care and passion went into this production but it needed a friendlier and more intimate venue.
Kym Clayton
When: Closed
Where: The Space Theatre
Bookings: Closed
