STILETTO is billed as a musical but it feels more like an opera. The music and the lyrics are by Matthew Wilder. The book is by Tim Luscombe. The setting is Venice in the early 18th century.
In Italy 300 years ago, 5,000 boys, almost exclusively from poor families, were castrated annually so that they could sing female roles in opera. The boys were castrated before puberty to preserve their high-pitched, unbroken voices.
Women were banned from singing in church and opera, thus creating a demand for male singers with soprano and alto voices. Many families saw castration as a potential path to social and economic success for their children. The most talented castrati became international superstars.
One such boy, Marco (Jack Chambers), now a young man, has been trained by his mentor, Faustino (Greg Banett), who introduces him to a countess (Kelly Hampson), a powerful patron of the arts, and this lands him a leading female role in an opera.
Faustio is in love, with Marco and is distraught when Marco falls in love with Gioia (Jewelle Hutchinson), a black woman, daughter of African slaves. He thinks she should have the role he has been offered, having a much better voice than he has. Back then, the very idea of a woman singing in opera caused outrage and consternation.
A lot of money has been spent on this ambitious production, which certainly has potential. The melodrama, directed by David Gilmore and designed by Ceci Calf, is well sung and handsomely costumed by Anna Kelsey; but the storyline, fatally, lacks focus.
There are too many characters and their sexual, racial and corrupt business relationships, straight, and gay, secular and religious. are all under-developed. There are too many songs which interrupt the action and trivialize it. The climax is a murder trial. Hence the show’s title, Stiletto.
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