![TheTalesOfHoffmanByMarkFrohna.jpg TheTalesOfHoffmanByMarkFrohna.jpg](https://shepherdexpress.com/downloads/39847/download/TheTalesOfHoffmanByMarkFrohna.jpg?cb=e606a47bfb411b54b7c31780cba3daca&w={width}&h={height})
Photo Credit: Mark Frohna
The Tales of Hoffmann was the only opera to flow from the pen of Jacques Offenbach, a 19th- century French composer best known for his sprightly overtures and exuberant use of the dance style that was all the rage of his day, the can-can. Operas are supposed to be somewhat more “serious” and “loftier” works of art than their lighter cousins, the operettas. It was the latter genre that really made Offenbach famous; it’s no wonder then that the spirit of the operetta infuses The Tales of Hoffmann—a spirit that also moves the current production by Skylight Music Theatre and Milwaukee Opera Theatre.
For this production, the companies made some very good choices. For one, it’s in English (a well-enunciated English at that) rather than its original French (though, thankfully, French is maintained for the exquisite third-act barcarolle, “Belle nuit, ô nuit d’amour”). Secondly, rather than ponderous sung-through recitative between musical ensembles and arias, it has spoken dialog. Offenbach’s original was composed, of course, for full orchestra; here we have two pianos, a harp and a wide variety of percussion instruments and noise-making devices (expertly played by Michael Lorenz). All in all, this is a decidedly scaled-down Hoffmann that, while now much more operetta than opera, works completely as a work of musical art.
Voices in the production are uniformly good. John Kaneklides’ tenor as the titular poet rings true and clear; Cecilia Davis’ lovely soprano hit all the high notes in the work’s famous “Doll Aria” of Act One. The always entertainingly expressive Diane Lane was excellent as Hoffmann’s friend, Nicklausse (and more than merely that, as attendees of this new take on the tale will eventually learn). Notice I’m not mentioning main characters of the original: Hoffmann’s rival, Lindorf and love interest Stella, an opera singer. Both characters have been written out of this substantially altered Hoffmann.
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Along with the fine, lyrical singing went kinetic stage action that kept the show moving along nicely, fine period costuming and a superb set design reminiscent of your grandparents’ attic crossed with the latest of steampunk sensibilities. Given its composer’s death before the final product was actually finished, Offenbach’s The Tales of Hoffmann has always been open to interpretation. Gratefully, the production currently playing in Milwaukee’s Third Ward is one that articulates Hoffmann’s tales in an exceedingly successful, thoroughly entertaining fashion.
Through March 29 at Broadway Theatre Center, 158 N. Broadway. For tickets, call 414-291-7800 or visit skylightmusictheatre.org.