You will be redirected back to your article in seconds

Candide

Leonard Bernstein never seemed completely satisfied with "Candide," which he hoped would be the great American opera. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the Opera Theater of St. Louis.

With:
Voltaire/Dr. Pangloss - John Stephens
Candide - Kevin Anderson
Cunegonde - Constance Hauman
Maximilian - Steven Combs
The Baron/Others - Brad Cresswell
The Baroness/The Old Lady - Josepha Gayer
Paquette, the Maid - Suzanne Balaes

Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the Opera Theater of St. Louis.

With soprano Constance Hauman reprising her Glasgow triumph as Cunegonde, every facet of the production shows style and grace, though the brilliantly satirical inquisition scene written by Lillian Hellman was not reinserted (cut in Boston in 1956 and never revived).

Director Colin Graham stages the opera for broad farce, which works. But the biting satire of linking the Spanish Inquisition to Sen. Joseph McCarthy and his inquisitorial methods is not emphasized; Humphrey Burton’s program commentary fills in the gaps.

With Stephen Lord conducting members of the St. Louis Symphony Orchestra, outstanding voices in every role and a beautifully balancedchorus, “Candide” also is a technical triumph, with Robin VerHage-Abrams’ costumes, showing a commedia dell’arte influence, playing perfectly against the rather stark permanent backdrop designed by Derek McLane. Designer Emanuele Luzzati softened things nicely along the way.

The story of Candide and his mentor, Voltaire/Dr. Pangloss, finding “this is the best of all possible worlds” against a backdrop of pain, persecution and privilege, is as important today as it was when Voltaire wrote it in 1759, aimed at the philosophy of Liebnitz and theactions of the Catholic Church.

They bumble on from Westphalia to Lisbon to Paris to Rio to Venice, smiling happily and taking their lumps as they go.

Both Hauman and Kevin Anderson, in the title role, look and sound completely optimistic through all the travails, and they are splendid. Combined singing and acting honors, however, go to bass-baritone John Stephens and mezzo Josepha Gayer. As Voltaire and Dr. Pangloss, Stephens rolls out high dramatic effect, both spoken and sung, and Gayer, obviously reveling in the role, has most of the best lines as the Old Lady, and delivers them for ultimate impact.

Baritone Stephen Combs is as vocally striking as he is handsome as Maximilian , Cunegonde’s brother, and soprano Suzanne Balaes is a perky delight as the maid. Tenor Brad Cresswell plays a variety of villains in charmingly villainous style, kind of like a classic Captain Hook without the hook. A first-rate production in every respect.

Candide

Loretto-Hilton Theater; 900 seats; $ 62 top

Production: An Opera Theater of St. Louis production of an opera in two acts, with music by Leonard Bernstein and lyrics by Richard Wilbur, with additional lyrics by John La Touche, Dorothy Parker, Lillian Hellman, Bernstein and Stephen Sondheim; book by Hugh Wheeler, after the novel by Voltaire. Directed by Colin Graham.

Creative: Choreographed by Victoria Morgan; conductor, Stephen Lord; orchestrations, Bernstein and Hershy Kay; additional orchestrations, John Mauceri. Sets, Emanuele Luzzati; costumes, Robin VerHage-Abrams; lighting, Christopher Akerlind; chorus master, Cary John Franklin; repetiteur, Ben Malensek; stage manager, Kimberly S. Prescott. Opened, reviewed May 21, 1994. Running time: 2 HOURS, 50 MIN.

Cast: Voltaire/Dr. Pangloss - John Stephens
Candide - Kevin Anderson
Cunegonde - Constance Hauman
Maximilian - Steven Combs
The Baron/Others - Brad Cresswell
The Baroness/The Old Lady - Josepha Gayer
Paquette, the Maid - Suzanne Balaes

More Legit

  • Eric McCormack First Time in Variety

    'Will & Grace' Star Eric McCormack Looks Back on Early Stage Roles

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • Lin-Manuel Miranda Announces The Hamildrops (Listen)

    Lin-Manuel Miranda Announces 'Hamilton' Mixtape Vol. 2 With 'Ben Franklin's Song'

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • Pinocchio review

    London Theater Review: 'Pinocchio'

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • The Children review

    Broadway Review: 'The Children'

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • Marilyn Stasio's 10 Best New York

    10 Best New York Theater Productions of 2017

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • Adam Driver

    Adam Driver to Star in 'Burn This' on Broadway

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

  • The Twilight Zone review

    London Theater Review: 'The Twilight Zone'

    Leonard Bernstein never seemed completely satisfied with “Candide,” which he hoped would be the great American opera. Six lyricists are credited; others were tried. After its first New York production in 1956, he collaborated on seven other versions, and the Scottish Opera production of 1988 sparkles like a diamond in its American premiere by the […]

More From Our Brands

Access exclusive content