Whilst it’s not customary to review the same production, a couple of key cast changes, a new venue, and the omission of the supporting orchestra meant that director Sarah Helsby-Hughes would have to overcome some challenges with Flat Pack Music’s ingenious re-setting of one of Mozart’s most complete operas to La Dolce Vita of 1960’s Italy: she was not to disappoint.
Don Giovanni (Richard Walshe) has seduced over two thousand women, all catalogued by servant Leporello (David Bicarregui), and he is looking to add another name with his attempted rape of Donna Anna (Carrie-Ann Williams) that results in him killing her father, the Commendatore (George Elson), and which her fiancé Don Ottavio (Joseph Buckmaster) swears to revenge.
Donna Elvira (Helsby-Hughes), an earlier conquest, has come in search of Don Giovanni, although he is now trying to seduce peasant girl Zerlina (Rosa Sparks) on her wedding day to Masetto (Edward Wenborn) and later attempts to rape her at his party.
The next day, Giovanni forces Leporello to swap clothes so that he can try his luck with Elvira’s maid in disguise but later in the graveyard he is confronted by the demons from his past: will he seek redemption and change his ways or is he doomed to burn in hell?
The challenge of this opera is that we are cleverly lulled by the music, lyric and comic performance into liking the rogue at its centre in spite of his behaviour, and in contrast feeling somewhat less sympathetic to those he wrongs. There was however a darker edge to this production from the off which made its conclusion all the more enjoyable.
Again, with the simplest of stagings, Helsby-Hughes dramatisation works wonderfully with a desk and two chairs transforming throughout to serve innumerable purposes. However, with the benefit of being in a performance space, the lighting effects have stepped up a notch to reinforce the mood within scenes as well as the progression from day to night and the inevitable shadowy descent into darkness and the burning red flames of hell.
With no orchestra, musical duties fell solely to Repetiteur Jonathan Ellis whose polished and professional performance served to demonstrate that the elegance and grace of a Mozart score with its necessary embellishments was more than safe in his capable hands.
The success of any production of this opera is dependent on the acting and chemistry between its players but the risk of any upset to that delicate balance with the casting changes was quickly dismissed as this production excelled in every quarter with its darker tones more to the fore, and all round performances and vocal delivery excellent from the whole cast, littered with amazing arias, dynamic duets, and perfect vocal polyphony.
Elson was an imposing presence as the Commendatore, whilst Helsby-Hughes delightfully served up the many sides of Elvira: bitter and sharp in the first half through to the more flirtatious then reflective of the second.
Williams’ impressive vocal embraced the heartfelt emotion of a victim turned survivor who is equally capable of playing with Ottavio’s affections to get what she wants, with Buckmaster cleverly capturing his confusion and then earnestness in his pursuit of the demanded revenge.
Wenborn’s strong Masetto captured the contrast of a bohemian spirit on the one hand offset by an over-sensitive nature on the other, with his jealousy piqued at every turn by Sparks’ charming and flirtatious Zerlina who, with an impressive vocal, wraps him round her little finger at every turn. It was good to see the third trimester gag being continued which adds such a delightful comic layer to the plot.
Bicarregui’s Leporello is intense and melancholic from the off which sets the scene for the rich darker seam that is hinted at throughout this production, with a strong performance throughout.
Walshe again caught the balance perfectly between comic and downright nastiness which this opera thrives upon, with his performance emboldened by the dark undertones and all the more impressive because of it, whilst wooing the female audience members with his moving ‘Deh, vieni alla finestra’.
The icing on the cake is the chorus quartet of Tamsin Sandford Smith, Nia Edwards, Ruby Lewin, and Ruby Magee, who add layers of intrigue as detectives, journalists, and pallbearers, to name a few, whilst captivating us with cleverly choreographed routines, the masque ball a particular highlight. They also do some heavy lifting for stage manager Mark Rawlinson to deliver a satisfying whole.
Lowther Gardens were opened in 1872 as a gift to the people and visitors of Lytham, with the first permanent entertainment venue added in 1909. Further details on its history and upcoming productions https://lowtherpavilion.co.uk/
Flat Pack Music is a music charity based in North West England, dedicated to transforming perceptions of and engagement with music and the performing arts. Further information https://www.flatpackmusic.co.uk/
Reviewer: Mark Davoren
Reviewed: 7th September 2025
North West End UK Rating: