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Death of the Maestro

Death of the Maestro by Horrie Leek
Presented by Malvern Theatre Company
Directed by Horrie Leek
Reviewed (September 17) by K.E. Weber
Cast: Joe Fairhurst, Terry Nalder, Shirley Cattunar, Matthew Kiely, Vanessa Bate, Linda Dean, Graeme Moore, Bill Coleman.

This play by local writer, Horrie Leek, has more twists of plot than an Agatha Christie, more scene changes than some David Williamsons require and more cliff- hangers than an Indiana Jones flick. Essentially, it revolves around the discovery of a long lost opera by the long dead composer, Carlo Genovesi. Roberto Ceprano, who is sent to the Riggio villa in Rome to determine its authenticity, meets the late Maestro's granddaughter, Gilda, and subsequently falls in love. Prompted by the avaricious Guido Mantua, Gilda is set to star in the opera, but things begin to take on a somewhat sinister guise when the secrets of the long-serving housekeeper, Giovanna Spara, are revealed.

The set, depicting a room in a Roman villa, was lovely in its simplicity. Well chosen furniture, while helping to establish the modernity and clean lines of the villa, was not necessarily well placed. The chaise lounge became the focal for an awkward and predictable acting space - Design may have been the culprit here. Decor was certainly appropriate and stylish with pastels and earthy tones blending well, however, I felt one main exit and entrance route (French doors up right) far too limiting and because of the short duration of scenes uninteresting in its predictability.

Scenes were unnecessarily and annoyingly short and while the play certainly made some offering, I found it a little contrived and superficial on the whole. It was stodgy and slow in parts, particularly the first act (traditionally the introductory act, I know), which was underscored by some tired looking performances. Direction was at fault here. The slow, meandering pace did little to alleviate the humdrum feel of many scenes.

The men particularly were disappointing with, I think, a lack of commitment being the overall culprit - actors were simply going through the motions. Joe Fairhurst as Victor Riggio, Gilda's concerned and loving father, was guilty of often unintelligible and rushed dialogue and, while looking the part, made very little connection with his character. Terry Nalder was also disappointing and missed many challenges. He was never convincing as the wheedling and manipulative Guido Mantua who, as a villain and a persuasive threat, needed to be stronger and more in control. - Also important if we are to believe in the relationship between Guido and Gilda. Matthew Kiely (Roberto Ceprano), while pleasing to look at and quite natural in approach, also gave a somewhat undercharged and lacklustre performance.

The women fared much better. Vanessa Bate, who did perhaps need to lift her energy level at times, gave a satisfactory performance, capturing the innocence and charm of Gilda Genovesi nicely. Shirley Cattunar gave a remarkably strong performance as the reliable and loyal Giovanna Spara who will stop at nothing (including committing a murder and feigning insanity) to protect Gilda. Strangely, in this Italian household, Giovanna was the only one to carry an accent and while it assisted Shirley's characterization well, I found this one appropriate accent a strange bedfellow for the more inappropriate ones present.

While the play didn't inspire, this production, generally, needed to be fresher and tighter. Greater commitment by actors and perhaps stronger guidance by the director may have been all the requirements needed to set it on its way.