A musical based in 18th century Venice with the leading character a castrati may not immediately seem a fruitful idea. Stiletto, with book by Tim Luscombe and music/lyrics by Matthew Wilder, makes its bow at Charing Cross Theatre.
In a sumptuous set (by Ceci Calf) of Venetian arches, half-lit (by Ben Ormerod) to suggest a sense of intrigue, Marco finds patronage in the house of Contessa Azzurra, but matters take a morbid and unjust turn by the end of act one.
Stiletto covers a number of dark topics, including racism, pedophilia, slavery, upper-class power, sexual exploitation, and religion. It doesn’t quite manage to pull all the threads together, and now and again, the tone abruptly shifts into comedy.
Wilder’s score takes inspiration from sources as disperate My Fair Lady, Les Miserables, and the lighter moments of Jekyll & Hyde, while his lyrics often stray into rhymes that sit awkwardly with the grandiose look and feel of the production.
Jack Chambers plays Marco well, but it’s a missed opportunity not to use a counter-tenor for the role, instead having the castrati numbers performed by Jennie Jacobs, a mezzo in a mask. There is scope for some beautiful moments celebrating the male human voice.
As other main characters, Sam Barrett is a little overwrought as Marco’s ‘teacher’ Luigi, while Jewelle Hutchinson’s Gioia sings beautifully and embodies the steely grace of a woman used to racist, classist and sexist abuse.
Kelly Hampson’s Azzura is complex and contradictory, enduring an uneasy compact in her loveless marriage to chief villain Pietro (a creepy and petulant Douglas Hansell), while seeking to find her own voice.
Stiletto offers some promise for future development, with a braver sense of direction (too much pacing about) and some thought about its tone and approach, rather than forcing its humorous elements.
The ensemble is excellent, and although we can’t clearly see the orchestra (musical director Jae Alexander), it was lovely to see a harp almost bathed in heavenly light at one point, as ethereal as the highest of voices.
The plight of young boys sold to become castrati is a story of exploitation for the entertainment of the wealthy elite. It’s a vulgar, nasty, regrettable story of the mutilation of human beings for the purity of their voices.
This musical should have caught that and made us care about Marco and Gioia enough to want that elusive happy ending. In its current form, it falls a little short, although there are several very well-crafted moments.
3 stars.
Stiletto, directed by David Gilmore, continues at Charing Cross Theatre until 14 Jun with tickets here.
Image credit: Johan Persson