MUSIC REVIEW : ‘Marietta’ Isn’t Naughty, Just Timid and Dull

If somewhere there is a shrine to the American operetta, surely Victor Herbert’s “Naughty Marietta” is one of the most venerated icons.

Considered the prolific composer’s best handiwork, the operetta that gave us that quintessentially romantic ballad, “Ah, Sweet Mystery of Life,” was a smash hit when it opened in New York City in 1910.

In 1935, MGM chose it for the first pairing on the silver screen of Jeanette MacDonald and Nelson Eddy. And in a decidedly upscale move that would have no doubt pleased Herbert, New York City Opera gave “Naughty Marietta” a lavish revival in 1978.

Pacific Chamber Opera’s current production of “Naughty Marietta,” however, is not likely to be noted by future historians as another landmark in the operetta’s stellar saga.

It is not that Pacific Chamber’s production at the Lyceum lacked potential. Director Gar Hildenbrand assembled a cast of solid singers, hired Three’s Company artistic director Jean Issacs to devise choreography, and engaged a respectable union band for the pit. But the combination of Hildenbrand’s lackadaisical direction on stage and conductor Gary Holt’s timid yet mechanical work in the pit proved devastating.

If a turn-of-the-century operetta needs anything to keep a contemporary audience awake and cheering, it requires quick pacing and a stylish, knowing rendition of its hyper-Romantic musical idiom. The first two scenes of this production seemed to last a lifetime, and only a few singers came even close to gilding the lily of that vocally lavish operetta style.

Daniel Hendrick made a winning hero as Captain Dick, letting his rich tenor voice soar with gentlemanly ardor. In the title role, Christeene Lindsay’s bright, clear soprano was at times a bit too light against the full orchestra, but her saucy incarnation of the princess in disguise was a welcome respite in the evening’s languor.

Baritone William Nolan brought his reliable musical acumen to the role of the villainous Etienne Grandet, although Nolan’s portrayal of corruption remained on the pallid side. The dusky, yet well-focused, quality of Karen Anacker’s mezzo-soprano gave depth and genuine pathos to the role of Adah, Grandet’s discarded Creole mistress.

Among the supporting singers, baritone Russ Simbari indulged in such a foppish caricature of the indecisive Governor Grandet, that his annoying tics seriously detracted from his pleasant, assured singing, while Myles Mayfield shamelessly milked the role of Silas the hayseed.

Members of the women’s chorus were alternately giddy and seductive, although humor was their stronger suit. Members of the San Diego Men’s Chorus amplified the company’s male chorus, although their amateur theatrics tended to cancel out their musical contributions. It was a case of unintentional camp rearing its silly head.

The orchestra gave Herbert’s colorful score a coherent rendition, although conductor Holt followed the players as much as he led them. His notion of Romantic rubato was as square as it was predictable.

Given a more skilled crew, Issacs’ choreography would have been an inventive addition to the operetta, although as the night wore on, her tricks seemed increasingly vaudevillian. Rob Norberg’s obvious lighting scheme was the apt complement to Jim McCarty’s plain sets.

Performances of “Naughty Marietta” at the Lyceum continue this evening, Thursday and Saturday and at 8 p.m., with a 2 p.m. matinee on Sunday.