The exploits of Casanova (Giacomo Girolamo Casanova de Seingalt (1725 - 1798)) - the world’s greatest lover - lend excellent material for a musical. There’s scope for romance, a bawdy romp (or three), narrow escapes and big showstoppers with girls in corsets and petticoats. So a small studio theatre seems an odd choice to stage such a show.

But it becomes apparent why the company chose this venue: it makes it seem more grandiose than it is. First impressions of a whirl of white dresses during a full chorus number, then a soprano standing half a foot away giving forth, give the illusion that this is a big production. It isn’t - it has 11 actors and three musicians. It does, however, hint at what this show could be on a bigger scale.

The production is bookended by scenes of an old and infirm Giacomo Casanova lying on his death bed. His friend suggests he write his memoirs, and there is a snapshot journey through his life and loves. The first memory is of Casanova in his early youth, yearning for a girl called Angela. His romantic ideals are soon corrupted by two saucy sisters who lead him astray. Casanova is under the charge of a cardinal, before setting off to take Venice by storm. Women come and go - including the love of his life, Henriette - and a fake castrato, Bellino, while Casanova busily gets caught up in various ruses and intrigues and embarks on a tour of Europe.

Each vignette is accompanied by a song - and although Philip Godfrey’s compositions (it is almost a one-man show as he also wrote the book) work well, there are too many. Two or three stand out as being particularly memorable, with catchy, uplifting tunes accompanied by the excellent three-piece band (which could almost be a full orchestra). The lyrics are often witty and punchy - such as the naughty sisters’ line ‘Won’t you be our ‘Giac’ of Hearts?’ The camp cardinal’s song is clever and funny. A love song to Venice is haunting. But other songs melt into each other, and it is as if Philip Godfrey has run out of steam with the lyrics, with trite lines such as ‘I feel I could fly with you / I could fly through the sky with you’ worming their way in.

The same could be said for the scenes themselves: some are superfluous, such as the prolonged, and distinctly irritating running joke about one of the characters, Madame D’Urfe - where her name is constantly mispronounced. It is entirely unnecessary, and since the show cuts out a great deal of Casanova’s life story it is a shame that part is given such a lot of stage time.

But other scenes are inspired. Michelle Whitney steals the show as squeaky pubescent Caterina, who Casanova is dying to corrupt. She is somehow convinced by Casanova, an abbess and an ambassador, to engage in four-way sex - but maintains her wide-eyed innocence. It’s a very funny scene. The cast as a whole provide an energetic, fun performance, under Tim McArthur’s slick direction. Costumes, designed by Sally Ferguson, are fetching, with the girls co-ordinated in white with brightly-coloured tights and chokers. Whoever is behind the scenes dressing and re-dressing their hair deserves a mention, as they dash on and off stage as different characters (with different hair styles) at breakneck speed.

The show is a sweeping romp through Casanova’s history, touching only on the most superficial level. But it needs to go no deeper for what it is - frothy fun with some great tunes.

Cast Credits: (alpha order):Julia G Addison - Henriette,Lucrezia's Maid, Fragoletta. Scott Armstrong- Bragadin, Antonio, Frederick the Great. Libby Christensen - Nanetta, Mother Maria, Genoveffa. Beth Davies - Bellino, Madame D'Urfe. Emma Fenney - Leonilda, Marta, Nurse. Anthony Flaum- Casanova. William Hazell - Pierre, Da Ponte, Doctor, Manuzzi. David Longden - Cardinal, Dandolo, Passano. William Ludwig - De Bernis, Grimani, Surgeon, Voltaire. Gemma Morsley - Lucrezia, Catherine the Great. Michelle Whitney - Angela, Caterina, Marcoletta. Live Musicians (alpha order): Reeds - Michael Grant. Bass Guitar - Charlie Pyne. Keyboard - Michael Steel.

Company Credits: Book, Music, Lyrics - Philip Godfrey (www.philipgodfrey.co.uk). Director - Tim McArthur (www.timmcarthur.com). Musical Supervisor - Stephen Hose. Musical Director - Michael Steel. Set Design and Costumes - Sally Ferguson. Lighting Design - Justin Smith. Assistant Stage Manager - Claire Nicolas. Stage Manager & Technical Operator - Heather Rose. Casanova Productions - Philip Godfrey. General Management and Press - Katherine Ives (Trilby Productions). Producer - Casanova Productions in association with Trilby Productions.

END

(c) Bo Wilson 2008

Wednesday 21 May 08 / Greenwich Playhouse

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com