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The New Moon
THE New Moon, presented this week by Glasgow Light Opera Club, is not one of Sigmund Romberg's better-known works, even with lyrics by Oscar Hammerstein II. Better known by far are such operettas as The Desert Song and The Student Prince, yet this show includes songs forever associated with Romberg like Stout Hearted Men and Softly As In A Morning Sunrise, with the more surprising Lover Come Back To Me.

Like much of his output, The New Moon encompasses a variety of song styles with a complicated plot, exotic locations and the usual large chorus, in this case, comprising pirates, New Orleans Revolutionaries and Serving Wenches.

Set in 1788 immediately prior to the French Revolution (and a little earlier than the programme suggests), the story centres on Robert Misson, on the run in Louisiana from the French king's chief detective and, according to this production, hunted for the murder of the "Duc de Cliche." But then there are more than enough cliches to go around as the hero, valiantly acted and sung by J. Campbell Kerr, seeks to win the hand of aristocratic Marianne, daughter of a wealthy sea merchant, using disguise, charm and an unlikely series of events to woo his intended.

Lorna Currie as the heroine acts and sings her role as to the manor born, although more concentration on her consonants might be helpful. James Cassidy as the villain, all swagger and sneer, does attract some hisses, even if his acting style leans to the languid.

Colin Lambie's production maintains a lively pace throughout much of this long show but his tendency to have the cast constantly leaping onto the nearest available stool, trunk or table soon becomes wearing.

The large chorus sings well although a less random use of amplification might give a more even sound.

C. B.