It’s Venice, it’s 1751, and everyone is at it like rabbits. A stiletto – a small, but deadly dagger is at the heart of this rumbustious romp of a musical, with book by Tim Luscombe and music and lyrics by Matthew Wilder (creator of Mulan).
The hiss-boo racist and villainous Count Pietro (Douglas Hansell) and his boyfriend accountant are siphoning millions off a charitable hospital building project. A lascivious Cardinal is having his way with the choir boys.
Meanwhile the Countess has discovered Marco, a young man who was castrated at the age of seven in order to preserve his pure high singing voice. It’s love at first sight for her – but with a castrato? Marco assures her “I can stiffen my resolve”.
But Marco is also in the thrall of his manipulative teacher Faustino (Greg Barnett) – who is also his secret lover.
And there is a second castrato Niccolo (Connor Wood), who has traumatically lost his voice and has been rescued from a fire by his friend Marco.
When the Cardinal is accidentally stabbed to death by the stiletto of the title, all hell breaks loose on the Rialto.
The melodrama of the piece is only matched by the fact that it’s gorgeously camp from beginning to end. It would be easy to misunderstand the tiramisu of musical styles: there are whiffs of Mozart, Les Mis, My Fair Lady and Sondheim – and in my view it all adds to the campery.
Will the evil count be found out? Will the aspiring black female singer Gioia (Jewelle Hutchinson), be wrongly hanged for the cardinal’s death? Will Marco be able to sexually satisfy the countess, and will the mute boy speak to save the day? And can a ménage a trois, which involves two castrati, work?
Musical director Jae Alexander, who also plays keyboards, has assembled an orchestra of 12, with lots of doubling up, including the joyous sound of a harp. It’s a brassy, lush sound when required and sweet-sounding backing when needed. The sound design by Andrew Johnson is absolutely superb – the best I’ve heard in the West End for ages and the voice amplification is never over-done.
Jack Chambers as Marco has a strong high voice, but he’s given a lot of vocal whingeing to do which gets a little wearisome. When he’s required to go to the top of the castrato range, mezzo soprano Jennie Jacobs stands in wearing an elaborate Venetian mask – but she’s rightly revealed in the curtain call. Her top notes are exquisite.
Jewelle Hutchinson has a voice to die for and can wring our hearts with her plight – she is quite something. And Connor Wood as the mute springs to life in the finale with to my mind the best song in the show No Words – it’s clever and beautifully delivered.
The show looks and sounds wonderful, and though it could be tweaked, it’s well worth a visit. Unlike our hero – it’s a show with balls. Well worth four stars.
Stiletto is at the Charing Cross Theatre until 14 June – tickets HERE
Pics by Johan Persson
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