Conducted by Stuart Stratford & Toby Hession

Stage Direction, Sets & Costumes by Barbe & Doucet

Lighting Design by Guy Simard

Review by Eloise Robertson

Festival Theatre

The curtain rises and you’re transported into a Paris of spectacle while a timeless street singer sets the stage for a crowd who’s hungry for a tune. Scottish Opera does not disappoint. From stage setting to performances, their La Boheme leaves you replete – satisfied completely with the delights you’ve been served, but knowing another morsel would taste oh so sweet. This production highlights the very best of a classic tale of miscommunicated, but never wavering, love for fleeting romances and unending friendships.

The second Stuart Stratford’s orchestra struck up, with all its precision and might, it was apparent we were in safe hands. The opening scene tantalises the audience with a Paris they recognise – selfie sticks and street vendors – before abruptly planting us right back in the roaring 1920s. Yet if anything is wonderful enough to smooth the whiplash of time-travel, it’s the casually performed excellence of the Bohemian men.

The first sequence between Rodolfo (Mario Chang) and Marcello (Roland Wood) played seamlessly, like friends chatting over a pint. It framed the consequent bromance perfectly.  Upon their entrance, Schaunard (Edward Jowle) joshed the group hilariously, and Colline (Callum Thorpe) provided the warm, kindly tones one looks for in a true friend. While at times their voices were slightly overshadowed by the orchestra, this only grated because I wanted to hear more of their truly expert singing.

All the while, Mimi (Hye-Youn Lee) watched on from a chair to the side, a small presence that loomed over the joy like a threat. Decisions like these are what gave the show its power by highlighting the ever-relevant juxtaposition of joy from freedom against devastation from sickness. For the honesty – told through tremendous vocals – they brought to their performances, Lee and Chang were poignantly, believably in love.

Following Mimi and Rodolfo’s stellar emotional climax so early on in proceedings, Musetta’s (Rhian Lois) fabulous entrance was all the more impressive for how efficiently it re-inserted the pace. Her eye-catching glamour, the glitzy posters, a charming carousel, and sparkly costumes which oozed Christmas jollity; Act Two concluded the first half with dazzle.

After the interval, it was jolting to be again thrust into a modern set. Whilst an admirable attempt at embracing the atemporality of the piece – particularly its setting in a city so well-experienced as Paris – it failed to flow as neatly back in time as the opening sequence had. It also felt unnecessary; the strength of the performers and the continuing relevance of Henri Murger’s original text were sufficient for a modern audience to empathise.

The vulnerability conveyed in the second half was superb. Rodolfo and Mimi’s breaking hearts played out beautifully, while Marcello and Musetta’s bickering seemed a very genuine form of love. Lighting designer Guy Simard deserves a world of praise for the stunning realism he created with the sunrise over Mimi and Rodolfo’s gut-wrenching breakup.

As we entered the final Act, the performers reached new heights; taking care with each lyric, they highlighted the craftsmanship of Illica and Giacosa’s libretto. This was only dampened by some rather distracting, clunky blocking in the final moments, where it seemed the directors’ failed to trust the power of the orchestra and performers to bring us to tears. They needn’t have worried; even despite the distraction, the full house was quite overcome.

So, aside from a few scratches, the show plays pristinely. Barbe and Doucet’s vision is borne out in the fun-loving naturality of the performers and dazzling extravagance of the design worked near-seamlessly with the swell of the faultless orchestra. The result is an epic atmosphere – simultaneously immersive while joyfully showy – which anyone will delight to spend their evening within.

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