‘Rebecca’, by Michael Kunze and Sylvester Levay, two of the most successful German-language musical theatre composers, had its world premiere at the VBW-theatre Raimund Theater in Vienna, Austria, in September 2006, where it went on to play to sold-out houses in three seasons, and where it is currently enjoying a successful revival.
Rebecca, with an orchestra of 18, will be directed by Alejandro Bonatto (director of the critically acclaimed production of Donizetti’s ‘Rita’ and the upcoming production of Francis Poulanc and Jean Cocteau’s ‘The Human Voice’ at Charing Cross Theatre later this month).
It has a new English translation by Christopher Hampton (two-time Tony Award winner Best Score & Best Book for ‘Sunset Boulevard’ and Oscar winner for Best Adapted Screenplay ‘Dangerous Liaisons’ & ‘The Father’) and Michael Kunze.
Rebecca, with 22 original songs, is a gripping thriller full of intrigue and surprises that sticks closely to the original novel. Wealthy Maxim De Winter brings his naïve new wife home to his Cornish estate, Manderley, where the manipulative housekeeper, Mrs. Danvers, resents the new wife’s intrusion. She persuades her that she is an unworthy replacement for the first Mrs. De Winter, the glamorous and mysterious Rebecca, who perished in a drowning accident, with tragic results...
The world-famous novel was also turned into a celebrated Alfred Hitchcock film in 1940, starring Laurence Olivier, Joan Fontaine, Judith Anderson, George Sanders and Gladys Cooper. It was nominated for 11 Oscars, winning two awards; Best Picture and Best Cinematography.
Ultimately, this production of Rebecca needs some smoothing out. Sometimes, large-scale musicals can work better in a more intimate setting, such as From Here To Eternity, which ran at the same theatre last year, eight years after it ran in the West End. Kunze and Levay's musical feels like it should be performed on a grander scale (think Phantom of the Opera), which makes this production feel limited in what it can achieve.
The score isn’t really the problem here; nor are Kunze and Hampton’s lyrics, though they are pedestrian at best. Bonatto directs with a peculiar lack of imagination, struggling to find the right tone. Proceedings are irrevocably hindered by Nicky Shaw’s unwieldy set design, with ill-conceived decor and props. David Seldes’ colourless lighting design doesn’t help: much of the time, the hard-working cast can barely be seen through the abundance of haze. The blaze that destroys Manderley is reduced to a crimson wash and a chorus passing empty buckets. It’s a production that monumentally fails to do justice to its source material.
2023 | West End |
West End |
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