Passion@the Rocket

Beneath his poor ear for language, Sondheim has a strong sense of tragedy, working tensions towards an emotional resolution.

Article by Gareth K Vile | 13 Sep 2006
At nearly two hours, 'Passion' demands more attention and patience than most Fringe shows: Sondheim's music is not blessed with memorable melodies, and the libretto is frequently prosaic. Nevertheless, Primavera's production received a deserved standing ovation.

Although set against the background of a provincial Italian military barracks, Sondheim's meditation on the nature of love concentrates on the tangled relationships of Gorgio, a romantic officer, his glamorous mistress Clara and the sickly invalid Fosca. Giorgio, performed with bovine charm by Jonathan Chambers, is repulsed by Fosca's displays of desire, only to find that she teaches him the meaning of love. Tormented by illness, Amy Payne's superb Fosca seems perverse, but gradually reveals her spiritual beauty. The third lead, Chantelle Stannings, is beautiful, seductive and hollow: this triad of stunning performances overcomes the score's weaknesses. The remainder of the cast, although solid, are overshadowed.

Beneath his poor ear for language, Sondheim has a strong sense of tragedy, working tensions towards an emotional resolution. Primavera do not innovate in terms of staging, but the quality of the singing captivates: this is exquisite and profoundly moving entertainment. [Gareth K Vile]